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PRACTICAL INSTRUCTION 



IN 



HYPNOTISM 



AND 



SUGGESTION 



BY 



HERBERT L. FLINT 



Flint & Flint, Publishers 
Chicago , 111 . 



Electrotyped , Printed and Bound 

By 

The Laurance Press Co. , 

Cedar Rapids , la . 



TMfc LibRARV OF 
iRESS, 




Rcmlvtd 


MAY 20 


1903 


CopyngM 
CLASS * 


t.K.y 


XXo. No. 


COPY 


^3 

u. 






COPYRIGHTED 



Entered According to Act of Congress, in the year 

1903. . . . 

By 
Herbert L. Flint. 



(All rights reserved.) 






It is understood the purchaser of this work 
will keep these instructions strictly private. 
Any person making copies of them will be held amen, 
able to the law. 





* HYPNOTISM 



AND ^SX/CiCiESXIOTN 



Herbert kFLiNT 



CONTENTS. 



Hypnotism Explained. Pages 1 to 15. 

Hypnotic Hallucinations. Pages 16 to 27. 

Hypnotism Scientifically Reviewed. Pages 27 to 36. 

The Science of Hypnotism. Pages 36 to 50. 

Dangers of Hypnotism. Pages 51 to 57. 

The Diet of the Hypnotist. Pages 57 to 66. 

Fraudulent and Genuine Hypnotists. Pages 66 to 75. 

How to Awaken your Subjects. Pages 76 to 78. 

The Palling Forward Test. Pages 79 to 81. 

The Falling Backward Test. Pages 81 to 84. 

First Method. Pages 84 to 86. 

Second Method. Pages 86 to 88. 

Third Method. Pages 88 to 90. 

Fastening the Hands Together. Pages 90 to 93. 

Gripping the Hands. Pages 93 to 95. 

How to Stiffen your Subject's Arm. Pages 95--Q6. 

How to Stiffen your Subject's Leg. Pages Q6---Q7. 

How to Prevent your Subject Speaking his Name. 
Pages 97 — 98. 

How to Keep your Subject from Getting up from a Chair. 
Pages 98-— 09. 





^ HYPNOTISM 

AND ^VGGESTIO^S 



Herbert k Flint. 



How to Keep your Subject from Sitting Down, 

'9 — - 100. 



Pages 



How to Keep your Subject from Throwing a Stick Down. 
Pages 100--101. 

How to Prevent your Subject from Jumping over a Stick. 
Pages 101 to 103. 

How to Frevent your Subject from Taking his Fingers 
off his Nose. Pages 103---104. 

How to Prevent your Subject Closing his Mouth. 
Pages 104--105. 

Cannot Stop Hands Moving. Pages 105--106. 

Cannot Stop Hands Rolling. Pages 106 to 109. 

Cataleptic Tests. Pages 109 to 114. 

Anesthesia. Pages 114 to 116. 

The Dividing Line between Physical and Mental Work. 
Page 117. 

The Butterfly Test. Pages 117 to 119. 

Presenting the Flea Test. Pages 119 to 121. 

(, 
The Nose Bleeding Test. Pages 121 to 123. 

The Molasses Test. Pages 123 to 125. 

Turning Coat Inside Out. Pages 125 to 127. 

Sneezing Test. Pages 127 to 129. 

The Hoat and Cold Effect. Pages 129 to 131. 

The Fishing Test. Pages 131 to 134, 



3^PMcric\L Instruction 




HYPNOTISM 

A>JD SVGGESTI02S 

Herdert'L: Flint. 




Baby Test. 
The Horse Race 



Pages 134 to 137. 

Pages 137 to 141. 

How to Make an Orator out of your Subject. 
141 to 145. 

How to Change tht Identity of your Subject. 
145 to 149. 



Pages 



Pages 



Miss Mary Jones---The Actress--A Finished Impression. 
Pages 149 to 154. 

To my Pupils. Page 154--155. 

Post Hypnotic Suggestions. Pages 155 to 159. 

For the Salesman. Pages 159 to 161. 

How to Awaken a Subject who has been hypnotized by 
Another. Pages 161---162. 

The Instantaneous Method. Pages 162 to 164. 

Voice. Pages 164---165. 

A Hypnotist's Eyes. Pages 165 to 167. 

A Few Practical Suggestions. Pages 167 to 173. 

My Final Suggestions. Page 173. 

Vocabulary of Scientific Terms used in this Volume, 
and Other Works on the Subject of Hypnotism. 
Pages I to XV. 




PMCriCALlNSTRUCnON 

HYPlSOriSM 

ANT) «VGGESTI02S 



Herbert k Flint. 




HYPNOTISM EXPLAINED. 

What is hypnotism? 

The linguist will tell you that it is derived 
from a Greek word meaning "sleep," but with its 
etymology we have no concern. It is now used to de- 
scribe a class of phenomena that has had many and 
various names. For a long time it went under the 
name of "mesmerism." Later it was called "electro- 
biology." It was next announced as "animal magnet- 
ism. " After that it was known as "human magnetism." 
And now everyone gives it a title to suit himself, 
ranging from "psychology" to "Christian Science." 

Ever since the dawn of civilization man has felt 
that there exists a class of phenomena that traverses 
all laws, that sets at defiance time and space--the 
laws of gravity and the laws of thought. 

In the infancy of the race man fell upon his face 
in fear and called it "demonology , " "sorcery," 
"witchcraft," and "the work of the powers of dark- 
ness. » 

To propitiate this--to him--dread power, man 
offered up his best and dearest, and mothers cast 
their babes into the arms of fiery Molochs, hoping in 




PractkalInstruction 
HYFlSOriSM 

AND ^XyCiCiESTIOTS 



Herbert k Flint. 




agony of soul and with brains crazed by awful fear, 
that by such acts they could soften the flinty heart 
of this unknown but terrible horror. 

The early Greeks discovered that by rubbing amber 
againot a woolen surface, it attracted bit* of lint. 
The ancient Greeks knew nothing of natural law. If 
the water ran in the purling brook, it was because 
some god forced it along, and the gurgling murmur was 
the laughter of the Naiads hidden in the stream. 
If the branches of a tree waved, tossed by the wind, 
it was because some Dryad stirred the foliage. 

When, therefore, they saw this phenomenon of the 
amber, they said: "There is a god hidden in the 
wax," and they called the new deity "Elektron." 
Modern science has taken the name of the god for the 
whole phenomena. 

Thus, today we no longer call it a god, but 
"frictional electricity." 

We do not know, indeed, what this mysterious force 
is, still we harness it to our street cars ; we make it 
the willing slave of man to carry his messages over 
loity mountains and under deep seas; we freight it 
with human thought and make it outstrip the boast 






2 



^RACTICALlNSTRUCrHW 

* HYPlNariSM 





AND ^VGGESTIO^S 

Hubert \ Flint. 



of Puck: "I'll put a girdle around the earth in 
f ©rty minutes . " 

In like manner, we are little by little un- 
raveling the tangled thread of human experience. 
We are beginning to understand some of the laws 
that are characterized by the name of "hypnotism." 

Literally speaking, the word is a misnomer; for 
while it means sleep, it applies to a condition of 
preternatural wakefulness, in which the subject 
exhibits the most astounding feats of memory; can 
recall events that in his waking moments he has 
forgotten;' can undertake and successfully execute 
the most difficult physical exploits; can have 
burning needles thrust into his flesh without 
suffering pain; can be suspended in the air, rigid, 
and apparently lifeless; can support great weights; 
can have immense rocks broken upon his breast, and 
endure all these things without detriment. 

It is therefore evidently a mistake to call a 
condition of such uncommon mental activity, sleep. 

One is almost tempted to say that the usual 
condition of man is more nearly asleep, and that 
the hypnotic state, one wide awake and responsive. 




PM(TIGVLlNSTRIICri^rfc> 

AND «VGGESTI02S 



Herbert h. Flint. 




I cannot do better than to recall to your minds 
an experiment that is quite familiar. 

If you hold a fowl on the bare floor so that 
the point of its bill touches the board, and then 
with a piece of chalk mark its beak, extending the 
mark along the floor, the bird will remain with its 
beak fixed upon the chalk line. You may remove your 
hand, but the bird will maintain its position until 
it falls over unconscious and asleep. When you 
arouse it, it will run about with loud cacklings and 
every demonstration of astonishment and bewilder- 
ment . 

This experiment is easily tried. What have you 
done? You have hypnotized the fowl. 

To still further develop this idea, let us con- 
sider man. 

He is a machine- -not a simple machine, but com- 
plex; and this complexity itself is dual--that is he 
is two persons—halves. Almost all of his organs are 
double. He has two eyes, two ears, two legs, two 
hands, two nostrils, and two brains. 

Each person is really three in one. 

You see Richard walking down the street. There 




Practical Instruction 
HYPNOTISM * 

AND 5VGGESTI02S 

Herbert' k Flint. 




YOU 
MUST! 



is an objective Richard and a subjective Richard. 
A Richard on the right side and a Richard on the 
left as it were. And then there is the real Richard, 
who is the joint product of the other two. Now, it is 
absolutely possible to make an impression on 
Richard' s subjective side of which Richard 's objective 
side shall be unconscious. And yet that impression 
may in time effect the real Richard, the combined 
product of the two that constitute his personality. 

For while Richard's objective side hears only 
with his ears and sees only with his visual organs, 
and reasons and reflects with his brain, his sub- 
jective side can hear without ears, see without eyes, 
recall things that his objective side has long since 
forgotten, and from false premises make strange but 
logical deductions. 

Richard is not only dual in his construction, but, 
as musicians say, he is tuned to a certain key. 

To illustrate: In a room containing a number of 
pianos in harmony, if you strike the "A" string in 
one of them, the "A" string in all of the other 
instruments responds at once. Or, place a guitar in 
a corner, with no one touching it. The moment you 








PRACTICYL INSTRUCTION 

HYPNOTISM 

AMD SVGGESTIOTS 

Herbert^. Flint. 

sound the scale and utter a note on which any string 
is keyed, that string will instantly respond, and in 
no hesitating way, but resonant, full and clear. 

So the hypnotist finds the note on which the sub- 
jective side of the person is attuned, and by playing 
upon it awakens into activity emot ions and sensibili- 
ties that otherwise would have remained dormant, 
unusea and even unsuspected. 

Let us go a step farther. When we stretch a 
string between two stationary rests and vibrate it, 
we produce a sound. When it vibrates thirty- four 
times to the second, it utters the lowest bass note. 
That is, this is the lowest that the human ear rec- 
ognizes. It is claimed that there are noises lower 
in vibration than this. Whales, for instance, com- 
municate with each other at a distance of two or 
three miles, so it is thought that they utter a note 
which they can hear but which is too low for the 
human ear. 

As we increase these vibrations the sound rises 
through the bass into the baritone, then into the 
tenor, then into the contralto, and lastly into the 
soprano-the test of whose excellence is the number 



6 




Mcricftl^sTRUcnoN 
HYPNOTISM 

AND 5VGGESTI02S 

HEKBERl'kFLIOT. 




of vibrations which can be produced. C sharp re - 
quires 5,500 vibrations to the second. 

A Patti is able to make these vibrations greater 
in number and clearer than an ordinary singer, and 
she, in turn, is excelled by Ellen Beach Yaw, who, 
by a peculiar construction of the throat, or rather 
of the uvula, is able to increase these vibrations 
some thousands more than Patti, and thus give utter- 
ance to a clear note far above that of any singer of 
ancient or modern times. 

Above the efforts of the human voice came the 
notes of birds and then the strident, vibratory 
sounds emitted by insects. Singularly enough, those 
insects capable of producing the greatest number of 
vibrations to the second, are the ones whose sounding 
apparatus resembles our violin-drum. Some human ears 
cannot hear these sounds. Many individuals never 
hear the note of the Cicada, whose drumming noise 
can be heard by others at a long distance. Many people 
have to listen intently before they can recognize the 
voice of the cricket. 

Above all of these sounds, probably, come a great 
many others that are strangers to the human ear. 



PRACriCALlNSTRUCriON 

HYPNOTISM 

A>03 «VGGESTIOiS 

Herbert L.Flint. 




Now, when the vibrations increase, let us say, 
for illustration, to 400,000 to the second-- it is 
really far more than that— we find color and the red 
ray. As we increase the vibrations we go through all 
of the colors in the prism, until we end with 700,000 
to the second, when we reach violet. 

With increased vibrations we get the heat ray, 
and then the chemical ray, and with still more 
vibrations, we find what science now calls the "X" 
rays--that is, the unknown rays. All of these 
exercise a most potent influence upon the human 
system. 

I am using figures here, solely as illustra- 
tions, for were I to give you what some scientists 
claim is the true number of vibrations to the sec- 
ond, you might be incredulous. For the purposes of 
comparison, however, these will answer. 

We advance along this line, increasing the 
yibrations steadily, until we reach a million vi- 
brations to the second, and then we get electric- 
ity. We advance still further, and, obtaining a 
million and a half to the second, we get LIFE. 
Still we have one step to ascend, and that is th« 





* HYPNOTISM 

ANT) «VGGESTI02S 



Herbert k Flint 



greater the number of vibrations to the second, the 
higher the form of life, and the greater the men- 
tality. 

The experiments of the "Salpetriere" school, in 
France, in this direction are marvelous. They took 
ignorant Breton women, increased their vibrations by 
hypnotic suggestion, and made brilliant conversa- 
tionalists of them, but after keeping them in this 
state for two months and then restoring them to their 
normal condition, it was found that they had lived 
years in that time. They had exhausted their vital- 
ity, so that whereas they entered the hypnotic state 
young women, they emerged from it and soon developed 
the decrepitude of persons of sixty. The government 
then interfered, and now no experiments of the kind 
can be undertaken in France, unless under the direc- 
tion of the recognized authorities, for they rightly 
judge that it is unsafe to commit these experiments 
to inexperienced hands. 

It will therefore be seen that the hypnotist 
simply dominates the vibrations of his subject, if I 
may so expess it, and by his own will power makes his 
personal vibrations sharp and full, accompanying the 



& 




exercise with all the force which gesture and voice 
can add to it. One of a low order of intellect --an 
idiot or a fool--cannot be thus influenced, for his 
vibrations are few and low. He lacks responsiveness. 
An insane person may be influenced, because while hie 
vibrations are irregular, they are full and high, and 
once under the control of the hypnotist, they are 
amenable, and the work is highly beneficial, for it 
tends to reduce them to regularity once more. 

A hypnotist requires persons who are strongly 
developed in the qualities termed Imitation, Venera- 
tion, Sublimity, Ideality, and especially Imagina- 
tion; for these require rapid vibrations. Then, if 
the will power of the subject be intense, he readily 
places himself under the direction of the hypnotist, 
and is responsive to his suggestions. 

The subjective side begins to assert itself, and 
the objective subsides into quiescence. The subject 
is therefore not asleep, but keenly responsive. The 
hypnotic gestures are simply to set the current of 
vibrations in motion, and so the hypnotic hears and 
obeys the suggestion of the hypnotist, regardless of 
all antagonistic efforts. 

10 





PracticalInstruction 

HYPisibrisM 

AND SVGGESTIO^ 

Hefberi I/. Flint. 



Hypnotism may be made a beneficent agency. It 
may advance one to a higher plane, so that when he 
emerges he no longer responds to the coarse' impulses 
that formerly actuated him. He is, for a time, at 
least, as invulnerable as was Achilles when his 
mother, Thetis, dipped him in the sea. 

In base hands it may be made base, but properly 
mastered and exercised, it is one of the greatest 
boons vouchsafed to man. It may elevate him above 
low desires and sensuous thoughts. It may purify 
his mind and purge his brain. It may take him by 
the hand, and without deleterious drugs, or by 
weakening his brain, lift him to a seat among the 
angels and gods; or in the hands of the unscrupulous, 
it may warp the intellect, dwarf the mind, enfeeble 
the will, and awaken from their sleeping chambers 
passions that should be suffered to remain dormant 
and undisturbed. 

I am in full accord with those authorities who 
claim that every human being, excepting those vio- 
lently insane or idiotic, is susceptible to the law 
of hypnosis. I say this, however, with one qualifi- 
cation; not every one is a natural hypnotist; not 



11 




PRACriCALlNSTRIJCriON 

HYPNOTISM 

jXNH «VGGESTIO^ 

Herbert U Flint. 




every one can be easily hypnotised. This power mny, 
however, be developed by persistent effort and in- 
defatigable perseverance. The chief requisite is 
self-control. The operator must possess mental equi- 
poise, for before he can command others he must 
obtain the mastery over himself. Joined to this 
must be an INEXHAUSTABLE FUND OP FA m IENCE, and the 
power of concentrating the mind upon a single object. 
This last is by no means the least requisite, .as it 
demands uncommon ability for its full development. 
Possessed of these qualifications, the operator may 
hope for success. 

To induce hypnotism, I begin by friendly con- 
versation to place my patient in a condition of ab- 
solute calmness and quiescence. I also try to win 
his confidence by appealing to his own volitional 
effort to aid me in obtaining the desired end. I 
impress upon him that hypnosis in his condition is a 
benign agency, and far from subjugating his mental- 
ity, it becomes intensified to so great an extent as 
to act as a remedial agent. 

Having assured myself that he is in a passive 
condition, I suggest to him, either with or without 



12 




passes, that after looking intently at an object for 
a few moments, he will experience a feeling of lassi- 
tude. I steadily gaze at his eyes, and in a monotonous 
tone I continue to suggest the various stages of sleep, 
repeating each sentence several times. As, for in- 
stance: "You are getting sleepy. Your breathing is 
heavy. Your muscles are relaxing. Your whole body 
is relaxed." I raise his arm, holding it in a hori- 
zontal position for a second or two, and suggest to 
him that it is getting heavier and heavier. I let go 
of his hand and his arm falls to his side. "Your eyes 
(I continue) feel tired and sleepy. They are fast 
closing," repeating in a soothing tone the words, 
"Sleepy, sleepy, sleep." Then, in a self-assertive 
tone, I emphasize the suggestion by saying in an un- 
hesitating and posi tj ve voice , "Sleep. You are asleep." 

I do not, however, use this method with all pa- 
tients. It is an error to state, as some specialists 
do, that from their formula there can be no devia- 
tion; because, as no two minds are cons tituted alike , 
so they cannot be effected alike. While one will 
yield by intense will exerted through my eyes, an- 
other may, by the same means, become fretful, timid, 



IS 



\\ 11 1 




Pmcticyl Instruction 
HYPNOTISM 

AND «VGGESTI02N 

Herbert!/. Flint. 




nervous and more wakeful than he was before. The 
same rule applies to gesture, tones of the voice and 
magnetic passes. That which has a soothing and 
lulling effect on one, may have an opposite effect 
upon another. There can be no unvarying rule appli- 
cable to all patients. The means must be left to 
the judgment of the operator, who by a long course 
of psychological training should be able to judge 
what measures are necessary to obtain control of his 
subject. Just as in drugs, one person may take a 
dose without injury that will kill another, so in 
hypnosis one person can be put into a deep sleep by 
means which would be totally ineffectual in another, 
and even then the mental states differ with each in- 
dividual -- that which in one induces a gentle slumber 
may plunge his neighbor into a cataleptic state. 

Nature always acts in accordance with the inflex- 
ible laws of compensation. If one lung be hepatized, 
the other enlarges and does double duty. If one kid- 
ney be removed, the other takes upon itself the work 
of the two. So, if sight and hearing be obliterated, 
as in the blind and deaf, the sense of touch is so 
marvelously developed as to take the place of the 



14 




MaiCALlNSTRUCTION^ 

IN \C Y0U 

hypnotism ^"^ 



ANT) «VGGESTI02S 

Herbert 1/. Flint. 



other two senses. This is vividly exemplified in 
hypnosis. The optic nerve is a process of the 
brain. When, by a bright light or by long continued 
fixity of gaze I have overpowered that nerve and par- 
tially paralyzed it, I have temporarily obliterated 
and obscured one of the senses. The next sense through 
which impressions reach the brain is hearing, by 
means of the auditory nerve. This is now quickened 
and stimulated, in order to supply the deficiency 
created by the quiescence of the optic nerve. The 
hearing is therefore readily responsive to every 
suggestion that is made, while the rest of the brain 
is abnormally active. Old memories long stored in 
the cells of the gray matter come forth, but they 
obey, not the calm judgment of the reasoning powers, 
but the suggestions of the operator sent along the 
keenly sensitive auditory nerve. In this condition 
the auditory nerve, like a photographic plate, is so 
super - sensitive that it seizes upon the slightest 
suggestion of the operator with whom it is en rap- 
port, dominates the will, and reasoning intelligence, 
and sends through all the avenues of the body direc- 
tions to obey its new master . This is "Hypnotism." 

15 






PracticvlInstruction 
HYPISOTISM 

AND ^SVGGESTIOiS 

Herbert k Flint. 



HYPNOTIC HALLUCINATIONS. 

When we study the phenomena of hypnosis, we find 
that they may be separated into three divisions. To 
be concise I will call these divisions: 

First--The Physical. 

Second--The Mental. 

Third--The Psychical. 

Let us consider the first. In the physical con- 
dition the subject is made to feel that his muscular 
system is dominated by the suggestion of the operator. 
The action of his will is temporarily suspended. He 
knows where he is and what he is doing. 

He is told, for instance, that he cannot open his 
hands. He instantly feels that his hands are closed 
and will not obey his will; yet another subject in 
the same condition will experience the sensation of 
opening his hands, but finding that his will power is 
dormant, makes no resistance. 

The first subject makes the effo~t. He thinks 
that he is exerting all of his force to pull his 
hands apart, but what he is really doing is forcing 
them together, tighter and tighter. He is thus obey- 
ing the counter suggestion, instead of his own im- 



16 





PbacticalInstru(tion 
HYPISOTISM 

AJSUD «VGGESTI02S 

Herbert I/. Flint. 



pulse. Try as long as he may, his hands remain 
locked, and he is unable to obey the suggestion of 
his own mind, because his muscular action is domi- 
nated by the will of the operator. 

This condition may continue until it overmas- 
ters his physical force, the muscles become rigid, 
and a state of catalepsy is induced. 

In this state the most extraordinary phenomena 
appear. When the physical forces are in the most 
violent agitation; when the action is most intense 
and vigorous; when the subject, having been told 
that he is an acrobat, is turning handsprings and 
somersaults, the heart betrays hardly the least 
excitement. It beats as calmly and regularly as 
if he were at ease in his chair, the respiration is 
normal, and he shows that the exertions which he is 
making are done in accordance with a command outside 
of himself; when, if he were undertaking these exer- 
tions in response to his own volition, it would send 
the blood bounding through his veins and make his 
heart beat like the blows of a trip-hammer. 

In the cataleptic state, the subject is able to 
maintain a weight of hundreds of pounds, supported 



17 




<^PR^ICVLlNSTRIiamrfc> 




HYPNOTISM 

yWD «VGGESTIOiS 
By 

Herbert k Flint. 



only at the neck and ankles. Such weight it is almost 
a physical impossibility to sustain in the normal 
state, but in the cataleptic condition it is easily 
borne, and there are no injurious results. 

It is now held that Hypnosis is the most satis- 
factory of all anesthetics; that in this condi- 
tion some of the most important surgical operations 
may safely be undertaken. 

If a delicate woman can, in the cataleptic state, 
supported only at her neck, shoulders and ankles, 
carry a weight of nearly a thousand pounds, it stands 
to reason that she could endure the shock of a sur- 
gical operation, no matter how severe. 

Not all physical tests, you must bear in mind, 
are cataleptic; some are automatic. In this condi- 
tion the subject finds that his muscles, once in 
motion, continue without effort on his part, and he 
is unable to control them. If he is told to rotate 
his hands, and he does so, he twirls his thumbs or he 
stammers hopelessly. 

We now come to the second division -- the Mental-_ 
wherein we deal with hallucination. 

To make myself clearly understood on this point, 



18 






2551 



j& PMcrioa,lNSTRuaioN 
"" ^ HYPNOTISM * 

AND «VGGESTI02S 

Herbert I/. Flint. 



YOU 
MUST! 



let us suppose that we have before us a class of six, 
ranging from one who is only slightly affected to the 
best possible sensitive. We will deal with them as 
if they were on a race track, each one driving a 
horse. The suggestion is made, accordingly, in the 
following manner: "Now think of a race track. Think 
of what a fine horse you are driving. Look around. 
See the people gathered to witness the race." 

I intensify this suggestion by emphatic repeti- 
tion. The idea thus given, the results begin to be 
apparent. The first will feel a sensation of having 
the reins in his hands. He will fancy he is driving 
something, he knows not what. He holds the reins and 
looks ahead of him with a puzzled air, as of a man in 
a fog, or one half asleep. His brain is misty. He 
has a vague idea of something, but no clear concep- 
tion. 

The second subject feels the reins and knows he 
is in a vehicle. He drives and experiences the shock 
of moving wheels. He begins to enter somewhat into 
the spirit of the affair, and to take an interest 
in his work. The reins are to him a reality, and he 
looks at them and grasps them firmly in his hands. 



19 





PRACriCVLlNSTRIICTION 

HYPNOTISM 

j\NT> «VGGESTI02S 

Herbert h. Flint. 

The third subject sees not cnly the reins and 
the vehicle, but part of the horse. The spirit of 
the race enters into him, and as he sees the action 
of the part of the horse nearest him, he prepares for 
the contest, pulls sharply on the lines, and urges 
his animal forward. 

The fourth subject sees the whole animal, and as 
he feels that he is guiding it, he excites it both by 
whip and voice. He carefully manages it, speaks to 
it, watches its head and neck, and is wholly wrapped 
up in the animal. 

The fifth subject sees the horse, the vehicle 
and the road. He carefully guides the animal over 
the obstacles that he meets, urges him forward, seeks 
to control him, is fully conscious of horse, road and 
vehicle, but of nothing outside of them. He feels 
that he must make his animal do its best, and he 
exerts himself to the utmost. 

The sixth is the best subject. He sees the horse, 
the road, the vehicle, and his rivals. Whereas the 
others have been acting in a limited space, with con- 
stricted vision, the sixth subject sees everything 
and everybody. He incites his animal in order to win 



ao 




PMCTmlNSTRUCnO^rfe) 

HYPNOTISM 



AND «VGGESTI02S 



Hefberx h. Flint. 




YOU 

MUST! 



the race. He hears the band play, and the crowd huz- 
zahing. He feels the breeze fan his cheek, and he 
notes r.ow near his rivals are approaching. He sees 
the judges in the stand and he hears the crowd shout. 
Now they come down the home stretch. He braces his 
feet, leans far forward, and seizes the lines with a 
tighter grasp. His eye glitters with excitement. 
Faster and faster they come. He rises in his seat 
and lashes his horse. He shouts and yells in the 
mad fever of delirium and tears down the course. His 
rivals come by his side. He hears the panting of 
their horses; he sees their foam-flecked sides. 
Steady, now, and the race is won. With a rush and 
roar they fly up the track past the grand stand, up- 
up-up to the wire. Now, in a grand burst of speed, 
the bell rings and the victory is his. 

. This sixth and last subject has taken in all of the 
details. His fervid imagination has supplied them; 
not one is lacking. He sees every incident -- from the 
starter standing at the bell, to the peanut vender 
walking around the groups and crying his wares. 
Places and individuals are all perfectly delineated, 
down to the last item. He knows everything, he sees 

21 




^ 



ractical Instruction 




HYPNOTISM 

AND ^SVGGESTIOTS 

Herbert k Flint. 



everything, and his spirits rise with the occasion. 

Something of this feeling he imparts to the other 
subjects, but they are wrapped more or less in their 
own personality. He escapes from it altogether. He 
is not hampered by time or space. He comprehends every- 
thing, is a part of everything, far more than in 
real life. 

We now come to the last division, which I call 
the Psychical. 

In this stage the subject is a part of the hyp- 
notist, as it were, but this condition is susceptible 
of certain degrees. What the hypnotist tastes, the 
subject tastes. What the hypnotist feels, the sub- 
ject feels. What the hypnotist thinks, the subject 
thinks, and this latter is "Telepathy," or thought 
transference. The subject and the hypnotist are 
thus united by an occult tie. 

This high degree of the psychical, as far as I 
have been able to determine, is indefinable and un- 
accountable. It is one of the mysteries of this--to 
us--new science. It is independent of time or space. 

I have reached this conclusion, that there is 
a limitation to material science, and it is only when 



22 




PMCTIC&lNSTRUCnoN 



HYPNOTISM 

ANT) «VGGESTIO]N 




Herbert h. Flint. 



we carefully study the laws of hypnosis, that we 
come near arriving at a correct understanding of 
phenomena that have puzzled the wisest and confound- 
ed the ignorant in all ages. 

Judged by this standard, how important it is 
that we bring to this quest not a flippant inquisi- 
tiveness, but honest and earnest inquiry. 

There is no fact in the broad domain of nature 
that should call forth a sneer. The operations of 
the human brain are so wonderfully mysterious that 
we may well pause and exclaim with the English bard, 
"What a piece of work is man!" 

It is only when we comprehend him in his dual 
nature, and note how each side acts for itself, and 
how it moves like an automaton, as if obeying the 
mandates of a higher power, that we comprehend how 
nearly right the old sages were when they denied that 
man is a free agent. 

A physician will appreciate it more strongly 
than the laity, that thought is the result of deter- 
mination of blood to the brain. Each cell of the 
gray matter is a complete individual in itself, 
having stored within its recesses, memory, reason, 



23 




(^PRMTICVLlNSTRUaiOAf 




HYPNOTISM 

AND SVGGESTlOiS 

Herbert v k Flint. 



will, force, or the power to control certain mus- 
cles of the body. All this is mechanically arranged, 
so that we may put our finger on a certain part of 
the brain and say: "This controls this muscle, and 
this controls that muscle." Just as we can go into 
a telegraph office and say: "This wire connects with 
Philadelphia; that with San Francisco, and the other 
with London. ■ But over and above all of this comes man 
himself--the Ego. He can direct his brain to operate 
certain muscles just as he pleases. He is ever re- 
sponsible for the manner in which they work. 

Pardon me if I elaborate this subject by pro- 
pounding one or two questions to you, my dear pupil,. 
Pray, tell me, how does thought act? Have you ever 
stopped to analyze its intricate operations? To be 
more explicit: A question is asked, a letter is to 
be answered, a brief is to be prepared, a jury is to 
be addressed. Now, note well, with lightning rapid- 
ity, the answer, the brief, or the address, is com- 
posed. But do you know in advance how the words 
will form themselves? 

I spoke a while ago of memory, as a function of 
the brain. Now, the old theory was that memory is a 



24 




PractiolInstruction 




HYHSOTISM 

ANT> «VGGESTIO^ 

Herbert L. Flint. 



mere mechanical arrangement of the atoms. You ex- 
perience a sensation, and a wave passes over your 
brain. If the sensation be repeated a number of 
times, it finally deepens into a crease. And when a 
wave passes over the brain, it falls into this crease, 
follows it, recalls the same sensation that made the 
crease, and that is memory. 

A man forgets on his objective side, but on his 
subjective side every crease remains distinct and 
perfect, and when the subjective side is called into 
action, it can easily evoke events and names and cir- 
cumstances that had long been forgotten by his ob- 
jective side. 

This is the theory of hypnotism, unconsciously 
advanced by the old teachers, and it is the only one 
that fully accounts for all the multifarious facts 
that have puzzled men of science. It explains the 
ravings of lunatics, and the visions of religious 
enthusiasts. It shows why Christian Science can one 
day perform cures that are beyond the reach of drugs 
and medicaments, and on the next fail in a case so 
simple that a child might have administered to it. 

As we progress in the study of these laws and 



25 



WILL! C 



PMaiGVLlNSTRUCTION 

HYF^GTISM 

NT) *S\7Gi< 

Herbert L. Flint. 



YOU 
MUST! 



STIOTS 



note how they envelop and enthrall the indi vidual-- 
how they enter into life and affect the student, the 
professor, the man of business, the commercial trav- 
eler, the actor, the author, the preacher, the child 
in the cradle, and the sage in his study--we shall 
begin to realize how important it is to unravel the 
skein and lay bare the whole clue. 

That which past ages ignorantly worshiped, we 
shall be able to use as the guide and friend of man. 
When we have fully solved this problem, when we have 
obtained a thorough knowledge of the laws that oper- 
ate upon the human intellect, we shall then be ready 
to understand those vast sociological questions that 
now with grisly front affright and appall the wisest 
thinkers. We shall then know why men forsake the 
country and crowd into cities; why they live in huge 
tenement houses swarming with human vermin; why cer- 
tain vices pervade certain classes and where civili- 
zation is highest and every appliance of wealth and 
luxury easiest to obtain, there vice flaunts and 
riots and holds high carnival. Heretofore society 
in every age has engendered the poison that has de- 
stroyed it. All other nations and peoples have gone 

26 




down into the dust-bin of ages. If this present era 
survive, it will be because it studies not only how 
to avoid the palpable errors of the past, but because 
it seeks to plunge beneath the surface, study the 
conditions that made these errors possible, and try 
to avoid them. 

The first requisite is to know what the laws are 
that unite us. Having found the bond that is to form 
the encircling zone of a common humanity, it will 
not be impossible to lift the individual to altitudes 
that lead to a perfect manhood. 



HYPNOTISM SCIENTIFICALLY REVIEWED. 

As you well know, the school of the Salpetriere, 
at Paris, regards hypnosis, hysteria, lethargy, 
catalepsy and somnambulism, as synonymous terms 
arising from a state of neurosis superinduced arti- 
ficially. In opposition to this view stands the 
Nancy school, of which I am a great advocate, with 
its famed exponents, Liebault and Bernheim, stoutly 
maintaining that suggestive therapeutics is simply 
persuasion obtained in most persons through somnol- 
ence. Some again are naturally possessed of a cer- 

27 




a PRACriC\LlNSTRUCTIO]Sf 

* HYPNOTISM 

A>JT> «VGGESTIOTS 

Herbert k Flint. 



tain psychic force, which may be intensified under 
suggestive treatment. 

Charcot distinguishes only three stages: 

Firs t -- Cata 1 epsy , which he produced in three 
different ways. First, by a loud noise, suddenly in- 
duced, such as the beating of a gong; second, by 
placing before the eyes a strong light; third, by 
fastening the gaze upon a brilliant object. This 
method is known as * ' Braidism. " 

In the cataleptic state the subject is immovable, 
fascinated. The eyes are set and fixed. The muscles 
are rigid. The reflexes are suspended. Complete 
analgesia is obtained. It is seen that there is an 
entire absence of muscular irritability. In this 
condition there is no change in sight or hearing, 
and by strong and repeated suggestions catalepsy may 
be caused. 

As we have noticed, the cataleptic can maintain 
the extended position of the body supported only at 
the extremities. 

Charcot's next division is that of lethargy. 

This condition is produced by fixation of the eyes 
upon a bright object. This stage resembles that of 

28 




<^toMTI(ALlNSTRU(IION 

HYPNOTISM 

AND «VGGESTI02S 

Herbert L. Flint. 




profound sleep. But while it is possible to produce 
complete analgesia of the skin and mucous membranes, 
sense activity is not always destroyed. The eye may 
be partially closed, but there is seen a slight vi- 
bration of the eyelids, and the tendon reflexes are 
markedly exaggerated. 

It should be remembered that the raison d'etre on 
which the followers of the Charcot system place the 
greatest importance is the neuro -muscular hyper - 
excitability, i. e., that pressure on a nerve causes 
the same functional reaction as the application of 
magnetic electric currents. 

The last division of the Salpetriere school is 
somnambulism -- which condition may be obtained by 
fixation, or, when the subject is in the cataleptic 
or lethargic state, by pressure on the crown of the 
head. 

The subject in this condition presents the ap- 
pearance of perfect sleep. The eyes are closed. It 
differs from the lethargic state, in this: While in 
lethargy there is neuro - muscular , in somnambulism 
there is cutaneous muscular superexci tabili ty . The 
sensibility of the cuticle is heightened, but there 



29 




I 

V II 



1 * HYPNOTISM 

AND ^S^/GGESTIOZN 

Herbert h. Flint. 




is complete anesthesia. In this state the hypnotic 
is intensely susceptible to suggestion. The Sal- 
petriere school erroneously then concludes that hyp- 
notism is the product of hysteria. This has been 
satisfactorily disproved, first by the Nancy school, 
and their decision is now accepted by the scientific 
world. 

Forel, of Zurich, lays it down as a postulate 
that a sound brain, is, above all else, necessary 
for successful hypnosis -- the sounder the brain the 
easier the impression and the sooner the results. 
In hysterical patients, the brain is often by no 
means sound. For the same reason, he continues, it 
is difficult to treat insane persons by hypnotism. 

Bernheim divides hypnosis into nine distinct 
degrees - -from simple drowsiness up to pos t -hypnotic 
and retroactive hallucinations. But these divisions 
and sub-divisions are by no means final or arbitrary-- 
as they will largely depend upon the temperament and 
disposition and mentality of the subject. I have con- 
versed with most of the eminent authorities, and they 
all agree with me, that it is not always possible to 
determine where the first step begins and ends. 



*0 




I have given this subject years of devoted study 
and research; in fact, I am not only an ardent be- 
liever in suggestive therapeutics, but a successful 
practitioner along that line, as well. While I am a 
professed adherent of the Nancy school, I maintain 
that these nine degrees are not ironclad, and some 
phenomena may be wanting. Some subjects will never 
attain to the higher degree ; others though somnambu- 
listic, may not show some of the lower phenomena. I 
also claim that a therapeutic effect may nevertheless 
be obtained, even in the lower degrees. 

In speaking of suggestive therapeutics, it may 
not be amiss to state that many ailments that have 
hitherto defied the skill of medical science are not 
only amenable, but readily yield to this beneficent 
agency. Forel, Moll, Bernheim, Liebault, Dessoir, 
Meacham, Kraft-Ebing, Vernon and others, agree that 
the following maladies come within the realm of sug- 
gestive treatment: All pains due to functional dis- 
orders (headache, gastritis, ovarian pain, rheumatic 
and neuralgic pain), insomnia, hysteria, dysmenor- 
rhea, somnambulism, unpleasant dreams, loss of appe- 
tite, alcoholism and morphinism, neurasthenic ail- 



31 



^ 




PRAaiCVLlNSTRUamT^ 




HYPlSOriSM 

AND ^SVGGESTIOiS 

Herbert k Flint. 



ments, stammering, nervous ailments, disorders of 
sight, enur esisnoc turna , pruritus, perverted sexual 
feeling when not inherited; singing in the ears, 
prolonged cases of chorea, emotional neurosis, 
agraphobia -- writer ' s cramp , --deaf ness , indigestion, 
chronic constipation. For this last malady, hyp- 
nosis is an absolute specific, and it is in this 
domain that Christian Science effects its most re- 
markable cures. 

I have made many interesting and valuable exper- 
iments in the line of using hypnotism as a thera- 
peutic agent. One especially was demonstrated by me 
in inducing cataleptic sleep upon a nervous and 
somewhat hysterical woman of fragile form and deli- 
cate constitution, some four years ago. She was put 
in this sleep and placed under the care of a commit- 
tee, composed of local professional men, so that 
there could be no doubt in regard to the genuine- 
ness of the trance. 

The sleep was the deepest catalepsy. Whereas 
most subjects in this condition exhibit more or less 
restlessness, moving from side to side and tossing 
in fitful slumber, the woman, under my care, was 



32 



^PfiACTKALlNSTRU(IION 

^ HYPisarisM 





AND «VGGESTI02S 

Herbert h. Flint. 



perfectly calm and profoundly unconscious. Indeed, 
were it not for the regular respirations, it might 
have been mistaken for the sleep of death itself. 
Watchers were placed over her, and every means de- 
vised to make the test scientifically correct. The 
hypnosis involved all of the secretive and excretory 
organs of the body. For seventy-two hours was this' 
sleep maintained. At the end of this time, the 
woman was restored to her normal condition. T-he 
awakening was gentle and peaceful. She moved her 
arms once or twice, as children frequently do, when 
aroused. She opened her eyes and at the expiration 
of the suggested time she arose, and in a few moments 
recovered herself. 

In speaking to the committee of this most strange 
experiment, she said that she was wholly unconscious 
of the time she had spent in this sleep. Her only 
recollection was that of absolute rest, in no sense 
differing from natural repose. Most astonishing 
was the further fact, that, although she had been 
locked in this cataleptic sleep for seventy-two 
hours, she soon went to her home and retired at her 
usual hour, and slept soundly all night, as if she 



33 



m PMaiCALlNSTRUCTION 

* HYPNOTISM ^"^ 

Herdert 1/. Flint. 




«ST 



Mad been occupied with her daily avocations 



She 



has since frequently undergone this cataleptic 
trance, and the result is decidedly beneficial. Her 
nervousness has disappeared, and her appetite is so 
much better, that she is no longer afflicted with dys- 
pepsia. She has gained in weight, and from her former 
state of fragility, she has become a robust and 
healthy woman. She is now Mrs. Flint and recognized 
as the most successful Lady Hypnotist ever before 
the footlights. 

This is of the greatest importance therapeutically, 
for it shows that hypnosis can be used as a remedial 
agent for a large class of maladies that now baffle 
the practitioner's art. I am of the opinion that 
hysteria can in this manner be completely overcome. 
All those nervous ailments that require, (as a con- 
dition precedent,) absolute rest, can obtain it with- 
out regard to surroundings, for the rattle of rail- 
way trains and the shrieking of steam whistles, 
cannot be heard by the hypnotic patient. No outward 
disturbance interferes with the restful pose that 
may be obtained under the influence of this agency. 
The senses are locked in slumber; compared to which, 



34 




? HYPNOTISM 



ANI> «VGGESTI02S 

Herbert h. Flint. 




the relief obtained by narcotics is feeble and in- 
significant, and there is in no case the wearisome 
relapse of the nervous tension that is a natural re- 
sult of the use of narcotics. When the patient 
awakens from the cataleptic sleep, every faculty of 
the body is endowed with new vigor and new life. 
There is no depression, no nervous exhaustion. The 
effect is to restore the body to normal activity and 
perfect health. In this respect hypnosis accom- 
plishes more than can be gained by the agency of 
drugs. It locks the faculties in a repose which is 
the highest ideal of rest, in which no extraneous aid 
is employed. The brain secures perfect freedom from 
care and anxiety, and there is no apprehension that 
it will eventually become an acquired habit, as there 
is when the brain is reduced to quiescence by means 
of sedatives. 

This shows the great value of hypnosis. It does 
not weaken the system. It does not leave deleterious 
traces in the brain. Those who have been subjected 
to cataleptic sleep seem better for it. This new 
fact in medical science promises to dispense with 
morphine, and with chloral, for the hypnotic sleep 



35 




RAaiCALlNSTRIIOTON , 

in \£* you 

HYPNOTISM **"»*" 

>WD ^VGGESTIOTS 
By 

Herbert L. Flint. 




does all which these drugs are able to accomplish, 
and that in a manner devoid of risk and free from all 
danger . 

I have been besieged with inquiries from some 
of the prominent physicians, who thus begin to real- 
ize the dawn of rich possibilities in this discovery. 
The best answer I can make is to point to the lady 
herself as an illustration of the perfect immunity 
that she enjoys, for although Mrs. Flint has been 
frequently subjected to the test, she is not only 
free from injurious effects, but her bodily health 
has steadily improved under the treatment. 

The list of maladies susceptible to hypnotic 
cures could be considerably extended or enlarged, 
but I have indicated sufficient for the purpose. 



THE SCIENCE OF HYPNOTISM. 

The universe is law. Whenever and wherever we 
meet with phenomena in this world, we may be certain 
that they are amenable to law. The same force that 
crystalizes the dew drop on the violet, holds worlds 
in place and regulates the movements of the vast 
order of suns. 



86 




PM(TIG^LlNSTRU0n^rfc> 



HYPNOTISM 



ANT) ^VGGESTIOIS 

Herbert h. Flint. 




Formerly, when man found something in nature for 
which he could not account, he attributed it either 
to a god or a devil, and he worshiped the force with 
blind and unreasoning faith, without stopping to 
carefully consider the origin of that which terri- 
fied him. 

If, then, there is a law that holds in its place 
and regulates the processions of the suns, there 
must be a law that fixes the scope and determines 
the operations of the mind and enables one brain to 
influence another, though seas roll between and the 
very antipodes separate them. 

This is the law of psychic phenomena. 

One reason why this law remains an occult science 
is, that men in this age have become so materialistic 
that they answer every new discovery along the 
border line of the mysterious, with a sneer, and, 
without stopping to ascertain the facts, deny them 
altogether. 

The great master of English literature aptly 
puts in the mouth of one of his characters in that 
wonderful tragedy filled with hypnotic suggestion-- 
Hamlet -- "There are more things in heaven and earth, 



37 





MCTIC\LlNSTRUCTI01\f , 

YOU 
S MUST! 



HYPisarisM * 

j\NT> ^VGGESTlOiS 

HerderI k Flint. 



Horatio, than are dreamed of in our philosophy." 

The towering geniuses, whose discoveries have 
lighted the beacon fires, by whose radiance the 
human race has reached the high altitude which it 
now occupies, met in their day and at the hands of 
their contemporaries the same derision and sneers 
with which occult science is now contending. Harvey, 
whose gigantic researches discovered the circulation 
of the blood; Jenner, whose wonderful revelations 
laid the foundations for the true theory of communi- 
cable disease; Pasteur, who gave to the world the 
theory of microbes - -all were forced to labor in 
secret, and to spend years in endeavoring to show 
their unbelieving countrymen that here were new 
facts, quite beyond the knowledge of their prede- 
cessors. 

So in philosophy, we find among the ages the 
names of great men who, with each period, laid down 
new laws for the instruction and guidance of the 
human mind. Such was Pythagoras; such were Plato 
and Socrates; Copernicus and Galileo, Newton and 
LaPlace. Each one enlarged the scope of the human 
intellect and gave the human mind larger flight and 
freer wing. 






38 




PRACTICALlNSTRUCriaN 




HYPlNOriSM 

ANT) 5VGGESTIOIS 



Herbert h. Flint 



In the light of the progress of the science of 
psychic force in the latter half of the nineteenth 
century, I would not insult the intelligence even of 
a superficial thinker by attempting to demonstrate 
that there is such a thing as hypnotism. 

I am often asked: "What good can hypnotism do?" 
"What woes will it alleviate?" "What wounds can it 
heal?" "On the contrary, is it not a fact, (some 
query,) that a patient frequently under hypnotic 
treatment loses his strength, his individuality, and 
finds his will gradually becoming weaker and more 
easily acted upon by those with whom he comes in con- 
tact?" 

In the light of psycological experiences such 
objections are convincingly overruled. It is an 
accepted fact that the highest exercise of the intel- 
lect is the cultivation of the thinking faculty. Each 
new experience broadens the soul and strengthens the 
development of the intellect, consequently, the ex- 
ercise of the hypnotic influence is to give new and 
valuable experience, and to fill the mind with emo- 
tions to which it was a stranger. 

The history of the science shows the more spirit- 



39 



W|V " ^ HYPNOTISM 



y\>03 «VGGEST102S 

By 

Herdert k Flint. 




ual and exalted the faculties of the mind, the more 
impressionable the subject. The grosser he is in 
fibre and construction, the less he is liable to 
exercise or receive this wonderful influence, so that 
instead of weakening the brain by frequent hypnoti- 
zations, the higher and purer it becomes in type. 

It is safe to say that it is hardly possible to 
make a person commit a crime, or any violation of 
law while under its influence to which his nature 
refuses to respond while in the normal state. 

One of the prerequisites of this subtle force 
is that it demands a mind free from all sensuality. 
The adepts in all ages have held, and still hold, 
that to attain the highest development, it is neces- 
sary to purify the body by frequent fasts, and by an 
uncompromising life of chastity; and that nothing 
deteriorates the mind so much as coarse sensuality 
especially in thought. The esoteric teachers have 
always maintained, that an evil thought exceeds in 
its debasing power an evil act. This is now corrob- 
orated by scientific invest igation--f or thought is 
the highest energy, hence the evil thought sears the 
soul deeper than the act itself. 



40 




PfiA(TI(XLlNSTRUairorfc> 



HYPNOTISM 




y\NT> «VGGESTI02S 

Herbert h. Flint. 



This, no doubt, is what Jesus meant when he said: 
"Ye have heard that it was said by them of old time, 
Thou shalt not commit adultery; but I say unto you, 
that whosoever looketh on a woman to lust after her 
hath committed adultery with her already in his 
heart . " 

These teachings and acts are true of all the 
great teachers, from Buddha to Jesus; from Confucius 
to St. Francis, to Thoreau and Emerson. 

Now let us see what are the requisites in 
hypnosis . 

To be concise, I will say that there are three 
principal requisites indispensable. These are: 
Passivity, Responsiveness and Imagination. 

First of all, the mind must be in a passive con- 
dition to receive impressions. I say to a subject: 
"Close your eyes and think of nothing but sleep. 
This sleep is the strongest and most recuperative 
medicine I can give. Now think of sleep. You feel 
that you are drowsy. You are very sleepy. You are 
asleep." And I impress upon him that his own object- 
ive mind is experiencing these sensations. Having 
thus appealed to his passive state, I have no 



41 





vV, J HYPNOTISM 

AND -SX/GCiE:ST102S 



Herbert k Flint 



trouble in arousing his faculty of receptivity. His 
subjective mind becomes plastic and responsive to 
my every suggestion. 

The next requisite is imagination. If he possess 
this necessary faculty, I can, without excessive 
trouble, superinduce every phenomenon of hallucina- 
tion. And what is more amazing, after I have sug- 
gested the merest outline, he will of his own voli- 
tion supply the minute essentials and elaborate them 
to harmonize with his personality. If I tell him, 
for instance, that he is a soldier, he will instant- 
ly carry out in every minor matter the general im- 
pression that I have given him. 

When we enter the domain of this science, we 
find that it is not easy to define its limitations; 
for we are entering the border line of what has 
hitherto been an unknown land, around which the cob- 
webs of fear have gathered. 

Every physician knows that there are cases which 
no medical remedy will reach, because the evil has 
its origin not in the psysical structure, but in the 
functions of the mind. Formerly these maladies were 
treated by delusion. The physician gave the sufferer 



42 



PBACTIOULlNSTRUCnON 



HYPNOTISM 





AND «VGGESTIO]S 

Herbert h. Flint. 



harmless pellets or colored fluid, trusting to time 
to restore the patient to the normal balance. We 
now recognize that the cause of the trouble exists, 
and we treat it by operating directly upon the mind, 
without attempting to reach the disease through the 
aid of medicaments. Permit me to give you a case 
within my own recent experience- - one that puzzled 
and baffled the skill of the most eminent physicians 
of - - - - where I was giving entertainments. 

The patient was a lady belonging to the upper 
class. Her husband was world-famed as a statesman. 
On account of the high standing of the parties, 
the Gase was the more important. She had been ailing 
for over a year- - suffering from insomnia, nervous 
exhaustion and melancholy. No cause could be 
assigned, but she grew weaker and weaker, under the 
best care and attention. Her husband was distressed 
beyond expression, for he was ardently devoted to 
her. Finding the usual treatment futile, her physi- 
cians called me in consultation. I suggested hyp- 
notic treatment. I experienced no difficulty, while 
she was in that condition, in locating the trouble. 
She imagined that she had lost her husband's affec- 



43 





RACTICVLlNSTRTICTION 



HYraorisM 

\ND SVGGESTIOiS 

Herbert v k Flint. 



tion, and this long dwelt upon in secret, under- 
mined her health, weakened her physical powers, and 
shattered her nervous system. 

It did not take more than three treatments to 
totally obliterate that idea, and she is to-day one 
of the happiest women in . 

This only shows that many maladies which we call 
nervous debility, may be placed under the head of 
hallucinations, and be treated successfully by 
suggest ion. 

While writing on this subject I am reminded of a 

question asked me by a student in university 

some months ago. He was a young fellow, and with the 
warm fervor of youth he inquired: "Could not hyp- 
notism be utilized as a love-potion?" 

That simple question, however, opens up a new 
field in the psychology of affections. It is one of 
the important links in the chain of sociology, for 
out of it most of the unhappiness in domestic rela- 
tions ensues -- hence it ought not to be lightly brushed 
aside. If more attention were paid to this by people 
in general, there would be far less unhappiness, few- 
er divorces and much more felicity among persons who 



44 




sustain the marital relations with each other. 

For there is running through all Nature this law 
of affiliation. The two atoms of hydrogen seek 
their atom of oxygen, and a marriage is the result, 
but under certain conditions, such as the introduc- 
tion of the electric spark, there may be a divorce. 
The atom of carbon in like manner seeks its affinity, 
and in like manner it may be divorced or married by 
the sun-god. So Darwin noted that among all created 
beings the male pays court, or, as he says, pursues, 
the female. Out of this grew his doctrine of "Natural 
Selection," We now see that it is as true of rock 
and nomad as it is of the higher intelligences. A 
heart pulsating with love is aflame with sympathetic 
vibrations. The object of the choice may be indif- 
ferent—nay, at first, hostile—but he overcomes this 
feeling by the very eagerness and vehemence of the 
pursuit. It takes hold of every fibre of his brain, 
and if unsuccessful, it may recoil upon itself and 
destroy in a moment of madness the very being that 
set its love seal upon him. 

The whole theory of love and its manifestations 
offers the strongest illustration of the law of 



46 



_^PRA(TIC\LlNSTRUaiON 



WILL I &^ 



HiTOOTISM " 

.AND SVGGESTlOiN 

Herbert L. Flint. 



YOU 
MUST! 



hypnosis. How often do we see them deaf, dumb and 
blind to everything but the object of their passion. 
If she repel him, he will not heed her. He says to 
her: "You love ine. n She denies it, and he consoles 
himself with that old maxim, "When a girl s ays 'No', 
she means ' Yes ' . " 

What is this but the universal recognition of 
the workings of the principle that I have laid down? 
It holds in spite of time or place. What is more 
amusing than to see a newly married couple all eyes 
and attention to each other, but oblivious of every 
one else? 

The trouble is not that this spirit is carried 
too far, but because the man after marriage neg- 
lects to keep alive the flame of love by using the 
same means that won his wife. He grows cold and in- 
different. He neglects the little amenities and acts 
that once he found so delightful. A revulsion of 
feeling comes in her breast. Why I is this selfish 
fellow stained with tobacco, and lounging about the 
house in his shirt sleeves, the trim, dapper chap 
that made her so many promises before marriage? 

She reciprocates his aversion just as she did 
his affection. 

46 




PfiACTMLlNSTRUCnOISf 




HYPNOTISM 

AND SVGGESTI02N 



Herbert kFLEsrr 



' Then she finds some one who supplies what he is 
lacking in deference and attention, and there is 
laid the ground work for separation, and all of the 
miseries that grow out of ill-assorted unions with 
which society teems and the newspapers are filled. 

Let us see whether it be possible to use the 
hypnotic power to so intense a degree as even to 
produce death. 

I, for one, while recognizing the salutary and 
beneficent power of this agency, am forced to admit 
that in the hands of the vicious and unscrupulous it 
may be so used as to weaken the nervous force and 
finally extinguish the vital spark. 

But why go so far? Mere suggestion, even with- 
out hypnotism, will in some temperaments produce 
nervous shocks resulting in physical ailments that 
ultimately will end in death. 

Medical science is beginning to recognize that 
there are certain maladies that have their origin 
solely in mental disturbances. 

It is familiarly known to every one that a sudden 
shock to the nerves--the receipt of disastrous news, 
fright, terror, fear or violent passion--will some- 
times result fatally. 



47 




^r 



PRAaiCVLlNSTRTiaiON 




HYPISOTISM 



AND ^S^/GCiESTIOTN 

HERBERT kFLEVT. 



An old college experiment, which I presume you 
will recall, is about as good an illustration as I 
can give. There was in our class a young fellow who 
was excessively conceited in regard to his physical 
strength. He really was a modern Samson. One day 
it was agreed by a number of us to suggest to him 
that he was looking unusually pale. I met him coming 
down the stairs, and remarked: "Are you ill? You 
are so pale." "Never felt better in my life," was 
his rejoiner, and we both walked on. But by the time 
my confederates were through with their solicitude 
for his looks, our Sanson felt so W3ak and ill that 
he repaired to his room and to his bed. 

The negroes of the south know this, and on it is 
based what is known as "Voudooism. " 

If a colored man finds in his path a little ball 
of wool with a stick running through it, or a bunch 
of hair put in his shoe, or something of that kind, 
he will go straight to his hut. All of the medicine 
in the world will do him no good. He has been "Vou— 
dooed." The slang of the street has changed this in- 
to "Hoodooed . " 

The ancient superstition of the evil eye came 

48 





PMcrmlNSTRUcnoN 
HYFISOTISM 

ANT> «VGGESTIOM 

Herbert I/. Flint. 



from this idea. A person with an evil eye had the 
power to inflict disease, sickness and death upon 
whomsoever he cast it with malign intent. 

History is filled with accounts of men who sought 
to avenge the results of this infliction by slaugh- 
tering the ones who had, as they thought, cast them 
under the spell. The records of the world during 
the Middle Ages chronicle the wholesale massacre of 
thousands of people, sometimes of whole villages and 
districts, because they were supposed to be witches. 
The most absurd tales were told and believed, but we 
do not have to go to the Dark Ages to find examples 
of this sort. People are killed every day by some 
gossiping neighbor, who comes in and groans with the 
sick over their maladies. Every physician today 
knows the value of cheerful nurses, cheerful rooms, 
plenty of sunshine, and the right kind of conver- 
sation. 

This law of suggestion merges into occultism 
where the power is so highly developed that it en- 
ables the ascetic to lie locked in his grave for 
months without losing his vitality; to sustain the 
most horrible torture, not only without a groan, 



49 





HYPISOTISM 

j\NT> «VGGESTIOiS 

Herbert k Flint. 



but even with a smile of triumph. Herein is found 
the secret by which saints and ecstatics maintain 
their composure when they are undergoing agonies 
that are too frightful for the spectators to contem- 
plate. The same thing is shown by the Red Indian, 
and the reason is the same. If hypnotic suggestions 
will and do cause death, on the other hand they have 
time and again robbed the grave of its victim and re- 
stored life and health to many a poor, stricken soul. 
Hypnotism, I repeat, when highly developed, soars 
into the unexplored realm of the occult, where the 
psychic power is marked. Theosophy has made a study 
of it, and insists that each being is accompanied at 
all times by his astral body, which can be projected 
through space at any distance, time and accompani- 
ments of matter being dispensed with. 

These manifestations have a deep significance, 
and are well worth the study of the thoughtful, and 
the wise consideration of the mind that seeks to ex- 
plore the infinite, and who, like Bacon, can say: "I 
have taken all knowledge for my province." 



50 



I 

WILL! 



<^toACTIC^LlNSTRU(TIO]Sf 

* mr^orisM * 

AND «VGGESTI02S 

Herbert I/. Flint. 



YOU 
MUST! 



DANGERS OP HYPNOTISM. 

In studying the laws that control the human mind, 
by means of which hypnotism operates, we must remem- 
ber this fact: that the subject must concentrate his 
entire attention. I place him in a condition of 
receptivity. 

This faculty of concentration-- of completely 
absorbing the mind and fixing it upon one idea-- is 
one of the most difficult feats in the whole range 
of mental phenomena. 

To illustrate: How many can steadily place 
their minds upon the second hand of a watch and keep 
it there for fifteen seconds. Try it, and you will 
be astonished to find how persistently your thoughts 
will stray, and how, try as you may, they will wan- 
der from the subject. I venture the assertion that 
few, untrained, can continue it for ten seconds. My 
wife and myself have spent years in mastering this 
condition, until we can fix our minds upon a given 
object for three-quarters of an hour without allow- 
ing it to be diverted. 

You will readily see by this, that fixity of 
mental vision operates so as to control the mind of 



61 



u 



^Practicvl Instruction 
Wl ' 11 ' * HYPISGTI5M * 

AND «VGGEST107N 

Herbert kFLiisjT. 



YOU 
MUST! 



the one operated upon. You suggest that he act in a 
■ Ttain way- The first condition is that he place 
himself in a passive state, and then, by the very 
intensity of your determination, you unite his will 
with yours. Thus you both work in harmony. The 
strength of his will, in reducing his mind to obedi- 
ence, makes it all the easier for you, just as the 
best soldier is not the ignorant boor, but the man 
of education and training, who clearly understands 
an order and promptly executes it in form and 
spirit. 

The first requisite in a hypnotist is to train 
his own mind. He can never succeed in holding the 
attention of his subject, unless he is able, with- 
out wavering, to concentrate his will upon the ob- 
ject he wishes to influence. Another essential must 
be considered. The human mind is a delicately con- 
structed instrument, and it must not be dealt with 
harshly. You do not send a man with an axe to tune 
your piano. So no hypnotic experiment should be 
conducted by an unskilled person in the absence of 
an expert. It is much easier to induce the catalep- 
tic state than it is to recover from it. The last 

62 




PBACTMLlNSTRUCriON 



HYPNOTISM 

J\1S10> «VGGESTI02S 

Herbert h. Flint. 




thing that an expert hypnotist does is to remove from 
the brain all trace of abnormal condition, or of 
perversion. If this be not done, there is great 
danger. To illustrate: A physician in a city where 
I was performing watched carefully for several 
evenings the process of hypnotizing, and on his re- 
turn home, tried it on his boy, a bright lad of ten 
years. He told the boy to "walk lame." What he 
should have done was to make him walk with a stiff 
knee. There was, among the patients of the father, 
an old man with a bent and crooked leg, and the lad, 
on being told to "walk lame" instantly assumed the 
attitude and walk of the old cripple. The imitation 
was so perfect that it evoked shouts of laughter, and 
for half an hcur the father continued the exhibition, 
to the great amusement of his guests. Then, when he 
attempted to restore the boy to his normal condition, 
he found that he could not do it. He worked in vain, 
and finally he sent for me. I took the little fellow 
with me and worked daily with him for four weeks, 
before I was able to restore him to his previous state. 
Hypnotism is like the genie evoked by the fisher- 
man in the "Arabian Nights." It was easy for him to 

53 




HYHSCTISM * 

A7STD «VGGESTIO^ 

Herbert L.Fllnt. 




YOU 
MUST! 



remove the top of the casket, but when once the demon 
had escaped, all the powers of earth could not con- 
trol him, and he declared that his first act would be 
to kill his liberator, who had been foolish enough 
to set him free. 

So, the hypnotic power does evoke from the human 
organism strange phantoms and unheard of and mys- 
terious powers. Not in wantonness or malice should 
they be brought forth, but with careful study and 
under systematic guidance. 

The great forces of nature are kindly and 
obedient in the hands of the master; terrible and 
awful when they rage without control. Steam is a 
faithful slave, but a remorseless and cruel master. 
Fire is the most patient and willing of servants, 
but the most heartless and devastating of tyrants. 
Once escaped from its bonds, it rages without check, 
destroying, withering, consuming everything within 
its reach. All the great aids of civilization are 
in the same category. What greater force than elec- 
tricity? But see it in the lightning's stroke and 
the tornado's path, and how terrible. It propels a 
s'treet car with easy grace, but if it catches you in 



54 




MGMLlNSTRUCnoN 




HYPNOTISM 



AND 5VGGESTI02S 

Herberts Flint. 



its grasp, its touch is death, instantaneous and 
irrecoverable. So of the chemical agents. What can 
be conceived in the light of material force more 
horrible than nitro -glycerine? There it lies float- 
ing upon the surface, on oil, odorless, clear, inno- 
cent. Touch it with a match and it burns without 
noise and with no undue haste, but confine it, tor- 
ture it by concussion, and it leaps into life with 
the mad fury of a fiend, rending, tearing limb from 
limb, hurling apart whatever has been placed about 
it. The stoutest bars of steel, the greatest masses 
of rocks, it parts asunder with the strength of a 
Samson, and the vindictive passion of a demoniac. 

So of this great mental force. In proper hands 
it is wholly beneficent. It can be made to adminis- 
ter to human ailments, to banish disease, to purify 
and elevate the mind, lifting the soul to a higher 
plane, giving the intellect a wider field, and endow- 
ing it with a loftier purpose. But in hands unfit 
and untrained, it may be used to pervert all these 
high aims and noble impulses. It may be used ignor- 
antly, to weaken the mind, to enthrall the affec- 
tions, to distort the emotions, and to dwarf rather 
than to promote the growth of the soul. 



65 





PRACTICYLlNSTRUCnoN 

HYETSCTISM 

/\ND -SVGGESTlOiN 
By 

Herbert k Flint. 



It is related that in the Middle Ages, the prior 
of a monastery discovered that if he gave his monks 
a dose of a new drug, they would no longer grow 
drowsy over their matins. He reasoned that if he 
gave them a little and it was beneficial, a good deal 
would keep them from going to sleep altogether. So 
he more than doubled his usual dose, and the next 
morning he had no monks at all. They had all joined 
the great majority in the night, and he called his 
new drug, in sadness of heart, "Ant imonkery , " a name 
which we have preserved to this day in "Antimony." 

So of this hypnotic power. Men ignorant of its 
possibilities and its limitations, experiment with 
it. They find that they can use it, and they do so 
recklessly. They discover that, like the demon in 
one of Sir Walter Scott's novels, any one can arouse 
him, but it takes a mighty conjurer to put him at 
rest, and that they have been tampering with a force 
that they should have touched only cautiously and 
under direction. 

Herein lies the error of the Christian Scien- 
tists, They refuse to believe that this power has 
limitations. They say: "If Christian Science can 



66 




PMCTIC^LlNSTRU^^r^ 

IN \C 

HYPNOTISM * 




A3SVD «VGGESTI02S 

Hubert \ Flint. 



cure a case of nervous prostration, why can it not 
set a broken bone?" And they answer: "It can." Mrs. 
Eddy asks, with true sophistry: "Did Jesus say to 
His disciples: 'Dissect a man; go into the hospitals 
and study anatomy?'" The argument follows that, as 
he cured disease without doing this, therefore, it 
is unnecessary to do it. 

This is not the method of the patient inquirer 
after truth. Hypnotism has laws by which it is de- 
fined. It exists as one of the living, vital facts 
in the universe. It can be controlled in certain 
directions, and it is so controlled. It can, and 
does, operate to heal a large class of maladies. 
The Durpose of the true investigator is to discover 
the facts; to separate the true from the false, and 
to follow the path wherever the axe of progress 
blazes the way. He knows that every phase of human 
intellect must follow the lines as laid down by 
eternal and unvarying law. 



THE DIET OF THE HYPNOTIST. 
There is a German proverb that runs as follows: 
"Sage mir mit wem Du umghest, und ich sage Dir wer 



57 




ractkal Instruction 
HYPNOTISM 

AND «VGGESTIO^S 



Herbert l. Flint 




Du bist. (Tell me your companions, and I will tell 
you who you are)." 

The Sociologist paraphrases this truism, and 
says: "Tell me what you eat, and I will tell you 
what you are." 

People who live upon a meat diet are, as a rule, 
gross and heavy. Vigorous and self-assertive they 
may be, but rude and overbearing. 

The savage believes that if he eat the heart of 

4 

his foe, he thereby acquires the courage and valor 
that distinguished his antagonist; hence among these 
people cannibalism is a religious rite. To a great 
extent this theory is applicable to those who exces- 
sively indulge in animal food. The man who lives 
upon pork will insensibly acquire and exhibit many 
of the peculiarities of the swine, and the same law 
holds true with all animal flesh. 

The nations that have subsisted upon a vege- 
table diet have, on the contrary, always excelled in 
the higher intellectual pursuits-- music, sculpture, 
painting, poetry. Great epic poems that have shaped 
the world's thought, and given it its lasting ideals, 
were not produced by rapacious and gluttonous 



58 



^ hypnotism 





Herbert I/. Flint. 



appetites. The muse celebrates, not the boar's head 
brought smoking in to the feast, but the vine- 
crowned cup filled with the golden wine. 

The orator, the actor, well knows the virtue of 
abstinence, and he postpones his repast until the 
work of his brain is accomplished. The effort of 
the imagination can have full play only when it is 
free. The gorged stomach overwhelms the brain; then 
the mind labors ineffectually to produce thoughts 
worthy of itself. So, after a too full meal, the 
sleep is broken and disturbed; the over-loaded 
stomach reacts upon the brain, not as an adjunct to 
elevate thought, but as a portent of evil conjuring 
up frightful dreams and awful catas trophies , that 
were long regarded as messages from the infernal 
regions sent by the furies to torment the wicked. 

The sages early learned the value of fasting as 
a means of spiritual exaltation. Moses laying down 
his dietary laws; Elijah'fed by the raven; Daniel, 
at the court of Persia, insisting upon the virtues 
of a frugal diet; Ezekiel preparing for his vision 
by solitary meditation; Jesus in the wilderness; 
Buddha in the jungle; St. Paul in Damascus; 



69 




BACTIGVLlMSTRUCriON 



hyhsgtism 

/\ND «VGGESTI02S 
By 

Herbert k Flint. 




Mohammed fasting upon the mountain until the angel 
Gabriel revealed the Divine Command; St. Stylites 
upon his pillar; Loyola upon his pallet--all these 
reach their high intellectual development by abstin- 
ence. Jesus himself said, in response to the ques- 
tion of His disciples, "Why could not we cast him 
out?" -- "This kind goeth not out but by prayer and 
fas ting. " 

It is written in the law that those who make 
shambles of their stomach, cannot hope to erect 
altars in their brain. 

Even among those nations that are distinguished 
as meat eaters, the controlling forces are the 
ascetics, the abstainers, the Newtons and the 
Wordsworths, the Arkwrights and the Watts. 

This law holds even among the animals. If we 
feed the dog exclusively on meat, he becomes savage 
and unmanageable, vicious and ungovernable. In 
Australia, during those terrible drouths that some- 
times are protracted over a period of years, it is 
necessary to feed mutton to the horses to preserve 
r hem alive. The horses learn to eat it, and became 
carnivorous, but they change their nature and are 



60 





Pbactic\l1nstructiom 
HYPNOTISM 

AND 5VGGESTIOIS 

Herbert k Flint. 



savage and uncontrollable; nor do they regain their 
natural disposition until they have been restored 
to their normal diet. 

A most remarkable instance of this can be seen 
in the G-oa, a parrot in New Zealand. Formerly it 
was inoffensive, for it lived on fruit. When the 
English settlers brought sheep into the island, it 
learned to eat their flesh, and it soon discovered 
that the kidneys were the choicest portion. It lost 
its quiet and domestic habit, and began to attack 
the living animals, alighting on their backs and 
eviscerating the unfortunate sheep until it reached 
the kidneys, which were the only part that it cared 
to eat. It is now the scourge of New Zealand, and 
is a predatory, ravenous bird, wary but bold, and 
the terror of the shepherd, its evil qualities being 
directly traceable to its carnivorous habits. 

It is well known that fasting produces visions, 
so that the ancient ascetics, like the Catholic 
Church to-day, impressed this upon the neophyte who 
desired to explore the mysteries of the inner temple 
and devote himself to the service of the Most High. 

The modern scientist will insist that the great 



01 




RACTICALtNSTRUCriON 




HYPNOTISM 

AND ^VGGESTIOiN 



Herbert k Flint 



intellectual development of our day has resulted in 
those wonderful inventions that are the glory of our 
civilization. These consist of improvement in two 
directions: First, in public buildings; next, in 
improved methods of transportation. In the first, 
ve cannot hope to equal the Pyramids of Egypt, that 
for strength, solidity, majesty, and grandeur over- 
shadow every other humam achievement. That of 
Cheops covers eleven acres of ground. It is four 
hundred and fifty feet in height, and Herodotus says 
that it took two hundred thousand men twenty years 
to construct it. Nor can we compare our greatest 
efforts with the great wall of China, built by the 
frenzied efforts of an entire people, to protect 
themselves from the Tartar hordes that preyed upon 
them from the North-- a wall that enabled twelve 
horsemen to ride abreast upon its top, and was a per- 
fect protection against predatory horsemen. Had the 
Europeans constructed a similiar wall along the 
shores of the Danube, and thus kept out the Huns and 
Lombards, the Goths and Vandals, the history of 
j.urope might have been changed. 

Nor can we rival + he luxury of the ancients. 



62 




PMOTCALlNSTRUCTIOlSf 



IN 



HYPNOTISM 

AND 5VGGESTI02S 

Herbert 'i/. Flint. 




What are the balls given by our "four hundred" com- 
pared to the feast of Heliogabalus , the suppers of 
Lucullus , and the banquets of Domitian? 

We must still remind ourselves of the caliphs of 
Bagdad, of the magnificence of Haroun al Raschid, 
and of the fountains of Cordova. Even in the line 
of graceful architecture, our builders must study 
the lines of the Parthenon, the columns of the 
Alhambra; while the world has never seen equaled 
the marble miniarets and the exquisite setting of 
the jewels in the Taj Mahal. 

We boast of our improved methods of locomotion, 
but we do not yet know how the ancients were enabled 
to transport such huge blocks of stone hundreds of 
miles, after quarrying them out of the solid rock. 
We do not understand how they could embody single 
stones thirteen feet square and sixty-nine feet long 
in their structures with apparently as much ease as 
we incorporate in our buildings an individual brick. 
Our highways do not equal in permanence and durability 
the Roman roads. We regard Hannibal's cutting his 
way through the Alps as a fiction, and Cleopatra's 
dissolving a pearl in vinegar as clever sleight-of- 



63 





PMCriCALlNSTRUCIIOlsr 

HYFISOTISM 

j\NT> «VGGESTIOiS 
m- 

Herbert k Flint. 



hand. It is only the recent demonstration of modern 
science that shows us that the story of Archimedes 
destroying the Roman fleet by means of concave 
mirrors, could be an accomplished fact; and that 
Appolonius may have understood the art of levitat.ion 
when he transported himself from Constantinople to 
Rome in a single day. 

The oriental has seen all this development, 
watched it rise, culminate, and fall, and he knows 
that instead of aiding the soul, it rather fetters 
it and clogs it-- embarrasses, and depresses, and 
hinders that high intellectuality that he regards as 
the true end and aim of existence. Better his simple 
diet of rice, water, figs, and dates, but with time to 
devote himself to the great questions of the soul, 
than to re-enact the weary round of piling up marble 
and granite, jasper and alabaster, to feed the vanity 
of man. 

The student who seeks to explore the occult, who 
would develop the full power of hypnotism, must heed 
these lessons, for there is contained within their 
depths the wisdom of the ancients. The full 
revelation of the mystic tie that binds man to man, 



64 



HYPNOTISM 





AMD «VGGESTI02S 

HbrbertI/. Flint, 



and connects with a subtle thread, intellect with 
intellect, and brain with brain, is not to be 
pursued through a body heavy with animal appetite 
and aflame with animal desires. The highest aspira- 
tion of hypnotism does not seek to control merely 
the physical movements of the subject, but to direct 
his thought and ennoble his pursuit. The work of 
exhibiting experiments upon the stage should not 
have this for its only purpose. "While such may 
make the unthinking laugh, it cannot but make the 
judicious grieve." It is because the study has 
been degraded to the level of farce comedy that its 
higher possibilities have been obscured, and its 
value as a therapeutic agent denied. The time has 
come when it must assert its claim, and its masters 
must insist upon the due recognition that its merits 
demand. Hypnotism is now in the debatable ground 
that every new discovery occupies before the public 
has accepted its claim and admitted its value. Such 
a period was imposed upon Copernicus; such was given 
to Jenner, to Harvey, to Goodyear, to Edison. As 
they confidently pointed to the future and awaited 
the result with unflinching patience, so we can as 



65 




C^PRACTIC\Ll>ISTRUai^rfc> 



HYPNOTISM * 

ANT) «VGGESTIO?S 

Herbert L. Flint. 




YOU 
MUST! 



confidently predict that future discoveries will 
base their inquiries into psychological law upon 
the rules that the hypnotist of to-day lays down; 
upon the methods that the experimenters of this age 
have predicted. 



FRAUDULENT AND GENUINE HYPNOTISTS. 
There are two classes of extremists in this 
world. The one blindly swallows everything; the 
other believes in nothing. The first, when shown 
the phenomenon connected with hypnotism, accepts it 
at once, and attributes it to spirits. If they be 
orthodox, they set it down as the work of evil 
spirits - -yea , even of the devil himself, who goes 
about in these latter days deceiving the very elect. 
If they are not inclined to orthodoxy, they 
attribute it to good spirits--to the ghosts of their 
friends and relatives who have gone before. Now, it 
is evident that these manifestations cannot be the 
work of the disembodied, because they can tell us 
nothing that we do not know--that is, nothing that 
is not either in the mind of the hypnotizer, or that 
has not previously been in the mind of the subject. 






eo 




MCTICALlNSTRUCnoN 

HYPNOTISM 

AND «VGGESTI02S 

Herbert h. Flint. 




For instance, if it were the work of spirits, they 
certainly would have the freedom of the globe, and 
they can easily pass anywhere on the surface of this 
planet. Yet, no medium or person under spirit con- 
trol has ever been able to present a map of the 
region about the North Pole. It might be supposed 
that such a task would be one of easy accomplishment, 
and yet no one has ever attempted it. When we con- 
sider that Dr. Kane, one of the early heroes of 
Arctic exploration, married one the Fox girls, who 
were the authors of the "Rochester Rappings," it 
would seem that such a task would be especially grate- 
ful to the spirits. We are, therefore, compelled to 
conclude, no matter how reluctantly, that these 
phenomena are connected with the personality of the 
subject, and exist because of the mental connection 
between himself and the operator, and are independent 
of disembodied spirits. 

Leaving then, this class of believers, we come to 
the class of skeptics-- those who pronounce the whole 
thing fraudulent. This sentiment receives an 
indorsement in some sort from many of the subjects 
themselves. Many of these say afterwards: "I knew 



67 




wanted to." In this they are perfectly truthful. It 
is one evidence of hypnotic power that they did not 
want to. 

All persons are not susceptible alike to this 
influence. Some obey with a feeling that they need 
not, but they comply with the wish of the operator. 
This is one of the first evidences of hypnotic force. 
The skeptics hearing them, maintain that all 
sujects are similarly affected, and so they refuse 
to believe in any. They imagine that every oase 
brought on the stage is the result of collusion 
between the parties. 

There are quacks in all professions. In medi- 
cine, we see the boastful practitioner, ignorant of 
the laws of hygiene, of anatomy, or of science, 
dealing out drugs and insisting that he alone pos- 
sesses the secret of compounding an elixir that 
shall restore to age the vigor of youth, and that 
shall banish disease as by a wave of the enchanter's 
wand. 

In law, we have the man who goes to first princi- 
ples, who sees beneath the rules of precedents the 



08 







lines which justice has established, and which cus- 
tom has sanctioned, and wisdom laid down. On the 
other hand, we have the pettifogger, who takes ad- 
vantage of every quibble, who seeks to cloud the 
dictum of courts, and to wrest from the plainest 
equity, rulings that shall enable him to rob his 
neighbor and thwart the purpose of the law. 

In mechanics, we have the scientific engineer 
carefully estimating the strength of his material, 
seeing that his foundation is broad and substantial, 
and not until this is properly constructed does he 
rear the superstructure which is to stand through all 
time, and like the Pyramids of Egypt, bid defiance to 
the storms of ages, because erec ted in accordance with 
scientific principles. On the other hand, the botch 
hastily builds on insecure foundations. His whole 
effort is to make a showy edifice. No sooner is it 
finished than it begins to settle. Huge cracks 
appear, the top falls, and the whole edifice is so 
insecure that it either tumbles by its own inherent 
weakness, or else it has to be torn down, in order 
to avoid involving precious lives in its collapse. 

So in the domain of hypnotism. There are classes 



69 




PRACTICALhlSTRUCriON 



HYPNOTISM 




AND 5VGGESTI02S 

By 

Herbert L. Flint. 



who find that these phenomena can be produced. They' 
carry them as far as their limited powers will 
admit, and then follow the maxim of old Lysander: 
"We must eke out the lion's skin by the fox's hide." 

They leave upon the stage any individual whose 
antics amuse the ignorant. After hypnotizing a 
subject they are either too ignorant or too indolent 
to continue their work to induce complete hypnosis. 
Working upon the credulity of sympathetic believers, 
they hint that hypnotism is really the work of 
intelligence from other worlds-- departed spirits 
who have gone before. 

Once entered upon this field, the descent is 
easy. We see materializations helped by human 
agency. We see spiritualists to-day posing as 
exposers to-morrow, and the result is that the whole 
body of professionals is regarded by the public as 
tricksters, frauds, and swindlers. 

All this results because people are not willing 
atiently to investigate the facts that are before 
them, but they so love the mysterious and super- 
natural that they try to account for everything by 
that means. The savage in Africa finds in the forest 



70 




PBA(TI(ALInSTRU(Im7^ 



HYPISOTISM 




ANT) ^VGGESTIO^ 

Herbert k Flint. 



a crooked stick, a stone of unusual shape, or even 
the bones of some animal. He takes it to his hut and 
calls it his fetich. He bows down before it and 
consults it. He knows within his own reason that it 
is but a stick, or rock, or stone, but he cowers and 
trembles before it as before a god. 

This feeling runs through all nations. Men are 
everywhere worshiping the fetiches of their own 
imaginations. They tremble before the creatures of 
their own fancy. They grow pale in contemplating 
deities that they themselves have made. Nay, before 
facts that they might unravel by the exercise of 
time and patience, they cower and shrink, affrighted. 
So we say to the world at large, this is not the 
course that we would have you pursue in the investi- 
gation of the phenomena that we present. We make no 
mystery. We resort to no device, we tolerate no 
chicanery, and ask for no concealment. Here are the 
facts. Carefully investigate, truthfully report, 
these are the only conditions that we ask. Slowly 
and little by little the laws that regulate hypno- 
tism are being discovered. The vast and complex 
machinery that dominates the human mind is be- 



71 




PracticvlInstruction 

hypnotism 

AND «VGGESTIOM 

Herbert k Flint. 




ginning to be understood; the rules by which we are 
to operate it are fast formulating. Just as the 
ablest engineer of forty years ago would be unable 
to run the locomotive of to-day without instruction, 
were he put in charge, so the child of to-day knows 
far more of psychology than the adult of former 
years. Knowledge has advanced and increased in all 
directions, but in none more than this, and yet we 
are only at the threshold of this wonderful maze. 
It was Newton who said he was like a child who was 
sitting at the seashore playing with pebbles, while 
the vast, unexplored ocean lay stretched before him. 
So all that we have yet learned or discovered of the 
laws of mind is but insignificant and trifling to 
that which will be. 

we have, by means of hypnotism, secured a glimpse 
through the outer door of a vast temple. Without is 
darkness and gloom, storm, and wind, and mist. 
Within is light and splendor, heavenly music, and 
the companionship of the gods. It is our privilege 
'o ask you to enter and enjoy the delights of 
intellectual activity in full measure. 

By this means you shall solve secrets that have 



72 




PRACriC&lNSTRIJCriON 




HYPNOTISM 



AND «VGGESTI02S 

HEKDEKfl/. Flint. 



hitherto been locked from the gaze of men. The 
various phases of disease which man in his igno- 
rance has only been able to reach through the gross 
and material door of the stomach, you will solve by 
means of entrance to the soul. The unbalanced brain 
that now runs riot in the wild ravings of insanity, 
you will regulate as the skillful engineer regulates 
his engine-- will check its mad career, and, saving 
it from destruction, restore it to healthful action, 
and confine it to its normal and proper work. 

The neurotic maiden falling into melancholy and 
despair-- a prey to morbid fancies and the terrors 
of an imagination all aglow with fever-- you will 
change into the sweet and holy aspiration of a tender 
soul, a loving and sanctified being, the joy of the 
home circle, the crowning glory of the home life. 

And old age, crabbed, lonely, disappointed, 
joyless, the frosts deepened into the hypochondriac 
snows of winter, you will change into a serene and 
lofty resignation, bearing the fruition of years 
well spent, of that crown of glory which sees before 
it the reward of one who has fought a good fight, 
who has kept the faith, and, having entered upon the 



73 




third stage of life, is now ready for the final act, 
when the curtain is- rung down, and the last exit is 
made, with the plaudits of friends, the flowers, 
the myrtle crown. 

The student of hypnotism who seeks to ascertain 
the facts, and is not led astray by a desire to see 
always sensational results, has before him one of 
the grandest fields for research ever vouchsafed to 
man. 

Formerly the toilers in this domain were thought 
to have sold themselves to Satan, and they were 
rewarded by the fagot and the stake, the rack and 
the executioner's axe. Now, a willing world waits 
in anxiety to know what your verdict is to be, and 
stands ready to applaud every soul who brings to 
light one single fact which shall act as a guide to 
further knowledge. 

The first requisite is honesty between our- 
selves. The science of hypnotism has now so far 
advanced-- there are so many societies of psychical 
researoh-- that even the most skeptical must admit 
that the fundamental principles are well known, and 
are now admitted facts. 



74 




PMCTICALlNSTRUaiON 



HYPNOTISM 




ANT) 5VGGESTI02S 

Herbert h. Flint. 



Imperfectly as the subject is as yet under- 
stood, what vast progress has been made since that 
day when every nervous person was supposed to have a 
devil at his elbow, whispering in his ear the foul- 
est words and ideas: when every maniac was supposed 
to be inhabited by Satan himself, who had chosen the 
unhappy man's mortal body for his earthly habitation, 
and was rending him for his Satanic satisfaction; 
when every old woman was supposed to be a witch, who 
spent her time tormenting her neighbors, blasting 
their crops, maiming their cattle, changing babes 
in the cradle, diversions that alternated between 
periods when she was riding through the air on a 
broomstick or was attending the witches' Sabbath at 
the Brocken. When every scientific student, patiently 
toiling by the midnight lamp to coax from Nature her 
secrets that, rightly used, might bless the world, 
was supposed to have signed a compact with the 
devil, and sealed it with his blood, in order to 
arrive at knowledge which the Almighty had forbidden 
man to acquire. 



75 




1 

WILL! 



^Practigvl Instruction 
HYPlsbriSM * 

AND «VGGESTIOM 

Hejrdekt h. Flint. 



HOW TO AWAKEN YOUR SUBJECTS. 

Before trying to induce the condition for the 
first time on any person, always tell them no mat- 
ter what they may be thinking of or what they may 
be doing, or how deep asleep they may be, they can 
always hear your voice, and can always hear the 
words, "All right" "Wide awake" when spoken by you. 

You must have perfect confidence in yourself, 
and you will find it as a rule very easy to awaken 
your subjects. When you wish to awaken a subject 
from the hypnotic state, concentrate your mind on 
the thought of his awakening and snap your fingers 
and say, "All right" or "Wide awake" several times 
in a positive tone of voice and you will find that 
he will usually obey your command. It is not abso- 
lutely necessary to snap your fingers or clap your 
hands. The positive command "Right" "Right" "All 
right" or "Wide awake" will awaken your subject. 
Yet, it will do no harm to snap your fingers; I 
always do, as it usually helps one to be more posi- 
tive in their command by enforcing the command with 
a gesture as one speaks. Usually your subjects 
will awaken with more or less of a start. It is well 



76 




PBAcric^LlNSTRuai^r^ 
HYPWTISM 




YOU 
MUST! 



jMSFD «VGGESTI02S 

Herbert kFLBSfx. 



to say, "When I awaken you, you will find you never 
felt better in your life, and you will awaken just as 
quietly as you do from a natural sleep." It is pos- 
sible that your first command will not awaken him 
at once. Should this be so, it is because you have 
not spoken firmly enough and all you have to do is to 
repeat, more positively, the suggestion to "Wake up," 
"Wake up," "All right, I say," "All right, look me in 
the eyes," "Wide awake, I say. You are feeling all 
right, are you not?" in loud positive tones. Keep 
this up until he is thoroughly awake. Should you 
still have trouble, or find it still difficult to 
awaken him, take him by the shoulders and tell him 
to sit down and be quiet. Under no circumstances 
become frightened; for any uneasiness felt on your 
part will, as a rule, be felt by the subject. After 
he is seated, tell him he wants to awaken and to get 
ready to awaken, and when you count ten he will 
POSITIVELY wake up and feel all right. Now say, "You 
are awakening, you will awaken, READY-1-2-3-4-5-6-7-8-9-10 
WAKE UP, I SAY. WAKE UP." Keep on commanding him to 
awake, and say, "NOW - YOU - ARE - ALL - RIGHT . " It is a 
good policy for the operator to smile. When the sub- 



77 





PRACTIGYLlNSTRUCriON 

HYPISGTISM 

J\NT> «VGGESTIOiS 

By 

Herbert h. Flint. 



ject is awake, he will usually respond with a smile. 
The smile acts as a suggestion; the subject follows 
it. Only in extreme cases will it be necessary to 
resort to the following system: 

Take hold of him and make him lie down; tell him 
to close his eyes; then commence from his feet and 
make upward passes barely touching his clothes, 
bringing your hands off the top of his head with a 
loud spat, and say to him, "Now you are feeling all 
right. All right. Wide awake. Come wake up." 
Repeat that process a dozen times if you must. Be 
not afraid. Be positive and believe he will awaken; 
and talk to him in a most commanding voice. It is 
not necessary to throw water into his face, and apply 
batteries, etc. If the operator will carefully 
study this method, he can awaken any subject no mat- 
ter how difficult. 

Have no fear in this regard, for only once in a 
thousand times, will you find cases requiring treat- 
ment like the last mentioned. 



78 



PRACnCALlNSTRlJCriON 




HYPNOTISM 



Herbert I/. Flint. 




THE "FALLING FORWARD" TEST. 
A very easy and simple test to accomplish is 
called the falling test. Have one of your subjects 
stand up with his feet close together, his heels 
touching, and with his arms hanging limp and care- 
lessly by his side. Then tell him to clasp his hands 
tightly and stiffen every muscle in his body, then 
to slowly relax all his muscles inclining forward as 
he does so. Then tell him to look directly at your 
eyes and to concentrate his mind on the idea of fall- 
ing forward; to think of nothing but the sensation 
of falling forward without any fear of falling; stat- 
ing at the same time that you will not let him fall 
or hurt himself. Make passes over his head, and from 
the back of his head draw the hands slowly forward 
over the temples, pressing lightly but firmly, and 
holding them still for a moment about an inch or so 
from the front of the head. Then slowly draw them 
forward directly in a line with his eyes and yours, 
that is, draw your hands forward very slowly in a 
straight line toward yourself, keeping your hands 
about twelve inches apart. Keep insisting on your 
subject concentrating his mind on the idea of falling 



79 




RACTICVLlNSTRUCIION 




HYPNOTISM 

J\NT> SVGGESTlOiS 

Herbert' k Flint. 



forward; and while you are thus engaged say to him 
in POSITIVE, even tones, "NOW- WHEN-I -DRAW-MY -HANDS - 
BACKWARDS- YOU -WILL -SLOWLY- PALL-FORWARDS. -KEEP- 
THINKING-OF-FALLING- FORWARD. - KEEP - THINKING - OF - 
FALLING- FORWARD. - KEEP - THINKING - OF -FALLING - FORWARD. 
I -AM- GOING - TO -DRAW - MY - HANDS - BACKWARDS, -AND NOW- 
YOU - WILL-FALL. YOU ARE - FALLING .- NOW - FALL. " As 
you say the last two words, "Now fall," slowly draw 
your hands over his temples, pressing lightly but 
firmly so as to, in a measure, assist in drawing him 
forwards. 

You must not only move your hands away but your 
whole body as well. If the subject saw your hands 
and your arms moving, and not your whole body, it 
would tend to break up the condition of fascination. 
Be sure to take a graceful and easy position on the 
start, with your right foot forward about eighteen 
inches from and in front of his two feet, thus enabling 
you to move your head and shoulders backward and away 
from the subject without changing the position of 
your feet, moving your whole position backward from 
the knees upward. With a little practice you can 
move a space of several feet. 

80 




PMOTCALlNSimjaMsT^ 

IN \C 

HYPNOTISM * 




AND «VGGESTI02S 

Herbert h. Flint. 



If he does not fall at the first effort keep your 
position and with a quick half - circular movement, 
put your hands back to where you had them, and then 
begin over again, drawing your hands towards you as 
though you were pulling a weight of a hundred pounds 
or so in order to draw him forward. You will find 
after several attempts the subject can hardly help 
falling forwards--he will unconsciously follow your 
hands, or rather make an effort to keep near your 
hands as if he thought he was falling backward in- 
stead of that you were drawing your hands away. Keep 
your eyes gazing steadily in his all the time. Don't 
forget to feel the suggestions as you give them. 



THE "FALLING BACKWARD" TEST. 
The falling backward test is another simple test 
an operator can use for finding out whether or not a 
person is susceptible to hypnotic influence. It 
should be used among the first tests, for it not 
only points out to the operator his easy subjects', 
but helps to convince the person affected, that he 
has been hypnotized. This renders the subject more 
susceptible to the further suggestions of the'ope- 

81 




PRACTKALlNSTRUCriON 

HYFISOTISM 

AND ^SVGGESTIOiS 

Herbert k Flint. 




rator and at the same time helps destroy his gen- 
erally erroneously preconceived ideas and fear of 
being hypnotized. 

It is among the easiest tests whereby you can 
tell whether or not your chances are good to influ- 
ence a person upon first trial. It does not neces- 
sarily say, however, that if a person does not give 
up to this test, that he cannot afterwards be in- 
fluenced. It is an easy and quick method of select- 
ing good sensitives. To give a sensitive a few 
minutes trial is not, however, a fair test by any 
means, and simply because a subject is not drawn 
backwards is not a sign by any means that he or she 
is altogether unsusceptible to hypnotic influence. 

POSITION. After having selected the subject for 
the falling backward test, ask him to stand up with 
his back towards you and with his feet together, his 
heels touching, his head up, and his hands hanging 
iimp at his sides, then tell him to clasp his hands 
tightly, stiffen every muscle in his body, then to 
slowly relax all his muscles, leaning backward as he 
does so and to close his eyes and look upwards while 
closed. To ascertain if he is doing so put your 



82 




hands on his shoulders and pull him back slightly. 
If he comes back easily he is doing as you direct; if 
he is standing with his limbs still stiff it is 
difficult to pull him back; he is not obeying your 
suggestions . 

After he is standing with his eyes closed and 
muscles relaxed put the palm of your left hand 
against the back of his head at the base of his brain 
and the palm of your right hand against his forehead, 
pushing his head against your left hand, at the same 
time ask him to rest his head upon your left hand, 
you standing at his right side. Then step behind 
your subject with your right foot pointing towards 
his feet and about eighteen inches away. Both hands 
touching his temples, slowly draw them backwards and 
off his temples, leaving his head just behind his 
ears, with a light but firm pressure. 

Now tell your subject to think of falling back- 
ward, to make up his mind he will and to repeat to 
himself the words, "I feel I am falling backward, I 
am falling backward, I will fall backwards," etc. 
Hold your hands still on his temples for ten seconds 
and then say in slow but positive tones, "When - I - 



83 




<^PRA(TICVLlNSTRTIOT®rfc> 



HYPJSDTI5M ^ 

AND «VGGESTIO^ 

HERDERi'k Flint. 




YOU 
MUST! 



draw -my - hands - from- your - temples - you - will - slowly 
-fall - backwards." 

Then draw your hands backwards so slowly at first 
that their motion is hardly perceptible. While you 
are withdrawing your hands still keep saying to the 
subject, "You are falling backwards -- you will fall 
backwards." Be sure to catch him when he falls. If 
he does not respond at first repeat the test. In 
making this test most persons remove their hands much 
too rapidly. The more slowly you remove your hands 
the more likely you are to induce the conditions. 
Your manner of speaking will also have much to do 
with your success. Do not speak loudly, but speak 
positively. Feel the conditions as you suggest them. 

Either one of the following three methods can be 
used in place of the Palling Forward or Falling Back- 
ward test: 

FIRST METHOD. 
Let your subject be seated in an easy chair, with 
all muscles relaxed; his hands upon his knees; his 
feet flat on the floor and about a foot apart. Tell 
him to look you intently in your eyes for a minute. 
Then tell him to close his eyes and while they are 



e4 




closed to look upwards as though looking toward the 
ceiling, you standing directly in front of him. Let 
your left thumb cross your right thum and, with the 
fingers of both hands curved inward, bring your 
hands up to the subject's forehead. Let your first 
three fingers of the right hand rest lightly on the 
left temple of the subject, and the first three 
fingers of your left hand on his right temple, rest- 
ing lightly; then slowly bring your fingers off his 
temples to his shoulders and down his arms and off 
at his hands, pressing a little heavier on the hands. 
Lock your thumbs again and curve your fingers, as 
directed above, and with a half - circular motion, 
bring them back to his forehead, making that pass 
thirty or forty times. Say to him, "I want you to 
think of going to sleep. Now, make up your mind you 
want to go to sleep. Think of the desire of going to 
sleep. Sleepy! Sleepy!! Sleepy!!! Your eyelids 
are getting heavy. You are going to sleep. You will 
hear no noise, no sound but my voice. Breathe deeply; 
deeper still. Sleepy! Sleepy!! You are going to 
sleep. You are asleep. Sleep." 

Repeat those suggestions during the time you are 



85 




Practic\l^strtictm^> 
HYPNOTISM ** 

AND «VGGEST!OiS 



Herbert k Flint. 




YOU 
MUST! 



making the passes. Let your voice be low but firm. 
Feel the condition as you give the suggestions. 
Believe that he will go to sleep; that he must go to 
sleep. Watch him closely and, when you think he is 
asleep, desist. Then lift either of his hands up a 
foot or so and let it drop. If asleep, his hand 
will fall limply to his knee or side. After the 
conditions are induced, he is ready to receive any 
suggestions and to act on them. Remember the subject 
can always hear your voice no matter how deep asleep 
he appears to be. . 

SECOND METHOD. 
Have your subject seated in an easy chair in same 
position as First Method. Stand in front of him and 
a little to his right side; your right foot between 
his feet and your left foot at the outside of his 
right foot. Place the thumb of your right hand at 
the top of his forehead, above the bridge of his nose, 
your first, second and third fingers of your right 
hand resting lightly just above his temples; the 
thumb of your left hand on his right temple; the 
first, second and third fingers of the left hand at 
the base of his brain on the right side of his head. 



86 




PBACTMLlNSTRUCnoN 



HYPNOTISM 




AND «VGGESTI02S 

Herbert h. FLCSfT. 



Then have him look intently into your eyes for a 
minute or two. Then start and draw your right and 
left hand slowly off of his head, pressing lightly 
but firmly. Let the thumb of the' right hand leave 
his head at the bridge of his nose and the fingers 
of your right hand leave his head just below his left 
temple. Let the thumb of the left hand leave his 
head below the temple of the right side and the 
fingers of the left hand leave his head just behind 
his right ear, the pass being about 3 or 4 inches in 
contact with his head, drawing your hands about a 
foot away from the face of your subject. Repeat the 
pass thirty or forty times, telling your subject, 
"Your eyelids are getting heavy; they are feeling 
tired. You will find you want to close them. You are 
getting sleepy, sleepy." Then tell him to close his 
eyes and roll them upwards, and to keep looking 
upwards, and his eyelids will get so heavy he can't 
open them. After you have given him those sugges- 
tions a dozen times, tell him to shut his eyes tight- 
ly and to try and open them. When he makes the 
effort, grip his head firmly just as your fingers 
are about to leave his head, as though in a vise, and 

87 




HYPNOTISM 

AND *SVGOiE:.STIO:N 



HERDER! kFLCNfT. 




let him try to open his eyes. If you find they 
stick, then tell him to "try harder to open them." 
"They are fast. You can't." After. he has made an 
effort for 30 seconds, then you can remove your hands 
and let him continue trying for a minute or so. 
Then snap him out and repeat the test several times. 
He is then ready for other minor tests. 

These methods require practice, so the passes 
can be made gracefully and quickly. Nothing will 
disturb a subject so quickly and prevent him getting 
into a subjective state as a bungling operator. 
THIRD METHOD. 

Have your subject seated in an easy chair, both 
feet resting flat on the floor and drawn up to the 
chair and about a foot apart; his hands resting on 
his knees, all muscles in a relax condition. 

Stand in front of him with your right foot be- 
tween his feet, your left foot on the right side of 
his right foot; grasp his right hand in your right 
hand, place the thumb of your left hand just between 
his eyebrows, the first, second and third fingers 
spread about an inch apart resting on the top of his 
forehead. Ask him to look you intently in the eyes-- 



88 



PBAcricALlNSTRUcriaN 





HYPNOTISM 

AND 5VGGESTI02S 

HeeberiI/. Yum. 



then suggest to him as follows: "You will find your 
eyelids are getting heavy"-- "You desire to go to 
sleep" -- "You are feeling sleepy " , "sleepy", "sleepy," 
"sleepy." "Your eyelids are getting heavy," "Heavy," 
"Heavy." "Now think of going to sleep. Make up your 
mind you want to go to sleep and go to sleep." 

All this time you are looking straight into his 
eyes, bringing your body forward until your eyes are 
within six inches of his, and then back again until 
about three feet away. Keep repeating this movement 
of bringing your eyes to and from his during the 
time of repeating the suggestions for about three to 
five minutes. 

Then tell him to close his eyes and look up- 
wards while they are closed to where your fingers 
are touching his forehead. Now tell him to close 
his eyes tight - tighter . "You will find your eyelids 
are getting fast; they are fast and you can't open 
them; you may try but you can't. You can't open 
them. Try, try, try harder." Your fingers should 
press his forehead firmly, and when you give the 
suggestion "He can't open his eyes, try" press still 
harder with your fingers. 

89 




PRACTKALlNSTRIJCriON 




HYPNOTISM 



Herbert k Flint. 



Your voice for this test should be low, firm 
and positive, never speak loud for this test. This, 
to my idea, is one of the best methods to bring a 
person under control. All your movements must be 
slow and deliberate. If the eyelids of your subject 
should not become fastened after the first trial, 
repeat. After eyelids are fastened the usual sug- 
gestion of "right, all right," and the snap of your 
fingers will awaken him; then try him again and 
again until only the suggestion will be required on 
your part of --"Close your eyes, roll them upwards, 
and you can't open them--try." You will find your 
subject more responsive to the usual physical tests, 
after being developed by this method than any I 
know of. 



FASTENING THE HANDS TOGETHER. 
Do not, as a rule, make this test until you have 
been successful with the falling tests. For this 
test, you can select someone who falls forward and 
backward readily. Ask him to stand up with his feet 
together and to clasp his hands together, with the 
fingers crossed. Then ask him to push his hands very 



90 




PMCTICALlNSTRUCriON 




HYPNOTISM 



AND «VGGESTIO^ 

Herbert h. Flint. 



tightly together; to make his arms stiff and rigid, 
and to try and think he cannot take his hands apart, 
or better still, to have him repeat mentally the 
words, "My hands are fast, I can't get them apart. 
I know they are fast", &c . The subject must center 
his mind upon the fact of his hands becoming actually 
fastened together. You, standing in front of him, 
should now clasp your hands over those of the subject, 
and ask him to look you straight in the eyes. Tell 
the subject that he must not look away and, if he 
should attempt to do so, you should command him 
rather sharply to look into your eyes. You, mean- 
while, should look intently in the eyes of your sub- 
ject with an intense and steady gaze, never removing 
your gaze at any time -during the inducing of this 
test . 

Now say to the subject in a slow, positive tone, 
"You will find your hands are fast and tight to- 
gether, tighter, tighter, tight, and you will find 
you can't pull them apart. You can't open them. Try, 
if you like. Now try, try harder. I told you they 
were fast." Here you should remove your hands from 
those of the subject, so that it will give the 



91 



asa 



c^^ACTICALlNSTRUaiON 

1 X in \£- YOU 

* HYPNOTISM < ^ MUSin 

ANT) «VGGESTI02S 

Herbert k Flint. 



subject an opportunity to attempt to pull his hands 
apart. While your hands are on those of the subject, 
you should move them around continually and firmly 
press the subject's hands together. Keep your eyes 
looking intently into his. During these suggestions 
and while he is trying to pull his hands apart, hold 
his gaze and don't let his eyes wander from yours 
to his hands. 

If you prefer, instead of pressing the sub- 
ject's hands, you may make passes down the subject's 
arms, commencing at the shoulders, firmly passing 
down the outside of his arms and off at the hands, 
pressing harder as your hands pass over his hands 
and repeating the operation until you feel ready 
to give the suggestions that the subject cannot pull 
his hands apart. You stand directly in front of 
your subject when making these passes, and don't 
forget to keep looking him in the eyes while you are 
doing so. 

After you take your hands from those of the sub- 
ject, you should still keep telling him he cantiot 
pull his hands apart, as the suggestion grows on his 
mind by repetition. 

92 




PfiACTICALlNSTRUCnoN 



HYPNOTISM 




^^T) ^VGGESTIOiN 

HERBEKfk Flint. 



In giving the suggestions, you should speak in a 
slow, positive tone, "You will find your hands are 
fast together", and you must keep getting more posi- 
tive and throwing more energy in each subsequent 
suggestion until you reach the climax, when you tell 
the subject he cannot pull his hands apart. Don't 
forget to keep looking him steadily in the eyes all 
the time you are making the test. 

After the subject has tried hard to pull his 
hands apart and is unable to do so, you should snap 
your fingers and say very positively, "Right, all 
right. Wake up, wide awake; all right", and should 
repeat these suggestions several times until the 
influence is entirely removed. Try and feel the con- 
ditions you suggest. Use your will. 



GRIPPING THE HANDS. 
After succeeding in fastening your subject's 
hands together then try this test, but if you fail on 
the other test, it is useless to try this. Tell your 
subject to stand in front of you with his feet about 
a foot apart and to look you steadily in the eyes. 
Then tell him to bend his elbows and bring his hands 



83 




Practical Instruction 
HYPNOTISM * 

AND «VGGESTIOiN 

Herbert \ Flint. 




YOU 
MUST! 



up to atout the height of his shoulders, and then to 
grip both of his hands tightly. Then you take hold 
of his wrists, your right hand grasping his left 
wrist, your left hand grasping his right wrist, and 
grip them firmly. Then tell him to grip his hands 
just as tightly as he can, to make the muscles of 
his arms as stiff and rigid as possible; to look you 
steadily in the eyes and to think his hands are 
getting fast and that he cannot open them. . Tell him 
they are getting fast; to grip them tighter -- tight- 
er—and to think of his hands gripping so tight 
they wont open. Then say--"they are fast, you can't 
open them"--"you can't"-— "try if you like"--— "you 
can't". As you give the suggestion "you can't", grip 
his wrists tightly, looking as intently as possible 
in his eyes. Your voice full and positive and rather 

loud. Tell him to try try--try harder, he can't. 

After he has tried for a minute or two and cant open 
his hands, then remove your hands from his wrists, 
still holding his gaze with yours and let him try a 
minute or two longer to open his hands. Then say to 
hin in quick, sharp, positive tones: "Right, all 
right, all right I say." Be earnest and sincere. 



04 




Believe yourself that his hands are becoming fast, 
working right with him as you give the suggestions. 



HOW TO STIFFEN YOUR SUBJECT'S ARM. 
Have your subject stand in front of you. Tell 
him to hold his right arm out as far as he can, 
fingers extended; then have him close his hand and 
make his arm as stiff as he can; then take hold of 
his fist with your left hand and make a few passes 
with your right hand down the inside of his arm. 
Look him intently in the eyes, saying, "Think of 
your arm getting stiff; think you cannot bend it." 
"Your arm is getting stiff; it is stiff and you will 
find you cannot bend it." "Try if you like--you can- 
not." 'You see it is stiff--it is getting stiffer. 
Try and bend it. You cannot." "Try, --try harder." 
Let go of his fist, back away a few steps, still keep 
looking him intently in the eyes , until he has made 
several attempts to do so, when you can remove your 
gaze and let him continue the effort for a couple of 
minutes. The usual suggestion of "All right, you 
can bend your arm now," is enough to remove the im- 
pression. Sometimes your subject may feel as though 

95 





PmcticalInstruction 
HYPISOTISM 

A?4r> «VGGESTIOM 
By 

Herbert I/. Flint. 

he has a cramp in the arm. Then reverse the passes 
and quietly pat the arm, telling him, "It's all right 
now. You feel all right. You are all right." Make 
him move his arm around and clasp and unclasp his 
hand half a dozen times. 



HOW TO STIFFEN YOUR SUBJECT'S LEG. 

Have your subject stand up and bring his left 
leg forward and place his weight on that leg. Drop 
down on your right knee in front of him. Take hold 
of his right hand with your left hand. Have him 
look you straight in the eyes and think he cannot 
bend his leg. 

Now make a few downward passes over his left leg 
with your right hand, commencing about six inches 
above the knee and continuing down to the ankle. 
While making these passes say to your subject, 
"Think of your leg getting stiff." "You will find 
it is getting stiff." "Your leg is stiff. It is 
stiff--it is getting stiffer and you cannot bend it." 
"You will find when you try to walk, you will walk 
stiff legged." As you give the last suggestion, 
rise, --still keeping your gaze intently fixed on the 



96 




Mai(ALlNSTRU(IIO^f^> 

IN \C Y0U 

hypnotism ^ 



MUST! 



AND «VGGESTI02S 

By 

Herbert I/. Eliot. 



eyes of your subject. Keep hold of his hand and 
slowly back away. Then say, "As you follow me you 
will find your left leg is stiff," and he will likely 
walk stiff legged. After taking a few steps back- 
ward, let go of his hand and let him continue alone 
for a few steps. Then you can remove the suggestion 
by saying, "All right. Wake up. Your leg is all 
right." You may have to make the trial several times 
before inducing the condition. 



HOW TO PREVENT YOUR SUBJECT SPEAKING HIS NAME. 
Tell your subject to stand up. Stand at his right 
side, gripping his right hand in yours. Let your 
left hand rest on his left shoulder, gently press 
your thumb on his throat just above the "Adam's 
apple," then say, "Think of your tongue swelling in 
your mouth. You will find it is becoming thick and 
heavy. You will find you are tongue tied and cannot 
speak your name." Look intently in his eyes and 
tell him, "Now speak your name if you can. You can- 
not. Try." As you give him the final suggestion to 
try, grip his hand tightly and press more firmly on 
his throat with your left thumb, letting your left 



97 




hand rest quite heavily on his shoulder. Still keep 
looking intently in his eyes. After he has made 
several efforts to speak his name, you can remove 
your gaze and take your left hand away, still keep- 
ing hold of his right hand. After several efforts 
to speak his name, the usual suggestion of "Right, -- 
all right, --wide awake, --all right, -you can speak 
your name, --all right" will suffice to release the 
impression. 



HOW TO KEEP YOUR SUBJECT FROM GETTING UP FROM A CHAIR. 

Tell your subject to sit in a chair and place the 
palms of his hands on his knee caps and press down 
firmly . 

Stand in front of him; tell him to look into your 
eyes. Then lean over and let your hands rest rather 
heavily on his shoulders for thirty seconds or so. 
Pass your hands down over his arms and off at his 
hands several times--the pressure firmer as your 
hands pass off of his hands. Then tell him, "Your 
muscles are getting set. You feel as heavy as lead. 
You will find your knees are stiff and they will not 
straighten out." "Your hands are fast on your knees 

©8 




PbacticalInstruction 




HYPNOTISM 



A2SI> «VGGESTIOZS 

By 

Herbert k Flint. 



and you cannot get out of that chair." Keep looking 
him intently in the eyes, during these suggestions. 
Then continue, "You can try and you cannot get up." 
"Now try. Try harder. You cannot get up." As you 
give the last few suggestions, stand about five feet 
away, pointing directly at his eyes with your right 
hand, never letting his gaze wander from yours. This 
test is successful nine out of ten times. After he 
has tried for a few minutes, the impression can be 
removed by the usual suggestion of "All right, --wide 
awake, --your muscles are all right, --you can bend 
your knees, --get up now. " 

Sometimes in this test, it is advisable to have 
your subject close his eyes for a minute and say to 
him, "When you open your eyes, you will feel all 
right and can get up." 



HOW TO KEEP YOUR SUBJECT FROM SITTING DOWN. 
Have your subject stand up directly in front of 
a chair. You stand in front of him about three feet 
away. Drop down on your right knee and make passes 
down the o.utside of his legs, commencing at his 
hips, passing off at his ankles, telling him at the 



99 



1 

WILL! 



PMaiGYLlNSTRUCTION 

HYPNOTISM 

AND 5VGGESTIOIN 
Bv 

Herbert k Flint. 




same time,' "Your legs are getting stiff. Your hips 
are set. You cannot tend your knees." Keep repeat- 
ing those suggestions during the time you are making 
the downward passes. Then stand up and look directly 
in his eyes and tell him, "Think of your legs getting 
stiff", and "Think you cannot sit down." Be as 
intent as possible. Shake your finger in front of 
his eyes and say "You cannot sit down. You cannot. 
Try now and you cannot." As he makes the effort, 
become still firmer in your commands. Almost shout, 
"You cannot. You cannot. Try--Try-- Try harder." 
Keep those suggestions up all the time he is 
trying. 

At the snap of your fingers and the command "All 
right,-- all right-- you can," he will usually col- 
lapse and fall into the chair in a heap. 

HOW TO KEEP YOUR SUBJECT FROM THROWING A STICK DOWN. 

Have your subject stand in front of you. Hand 
him a cane or broom handle. Tell him to take hold of 
it. See that his hands are about eighteen inches 
apart. Take hold of his hands, your thumbs pressing 
the back of his hand--yjur right hand grasping his 



100 




left and your left, his right. Ask him to look into 
your eyes and to think of his hands getting fast to 
the stick. Tell him to grasp the stick as tight as 
he can. Then say, (as you are looking intently into 
his eyes) "Now, think you cannot let go of this stick. 
Your hands are fast to it and you cannot throw it 
down. ■ 

Grip his hands firmly. Lean towards him, hold- 
ing nis gaze and say, "You cannot throw that stick 
down. Try if you like, --you cannot." As you give 
the last suggestion, let go of his hands and back 
away from him, still holding his gaze. Tell him to 
throw it down if he can. After he has made several 
efforts, you can remove your gaze and let him con- 
tinue the effort for a minute or so. Watch out when 
you give the suggestion of "All right," "Now you can," 
etc., etc., as the stick may fly across the room, or 
bound from the floor, hitting some of the spectators 
or yourself. 



HOW TO PREVENT YOUR SUBJECT FROM JUMPING 
OVER A STICK. 
After you succeed in preventing your subject 
from throwing down the stick, then try him on this test: 

101 



j^ PmcticalInstructioN 
^ll, ^ HYPNOTISM ^"^ 

AND «VGGESTI02S 



HEFDira h. Flint. 




Place the stick in the middle of the room. Then 
tell him to stand about a foot away from the stick 
with his feet about six inches apart. Tell him to 
place his arms at his side, to clench his fists and 
to make his legs as stiff as possible. Now stand 
about six feet away, directly in front of him, your 
right foot forward. Have him look you intently in 
the eyes for thirty seconds or so. Lean forward and 
say, "Now look into my eyes and don't look away, and 
think you are getting fast to the floor, and think 
you cannot jump on the stick. Make your legs 
stiff. Watch my eyes closely and you will find your 
feet stickfast to the floor, and you cannot jump over 
that stick. You cannot. Try if you like." "Try. 
Try. Try harder. I knew you could not." 

It is always advisable to continually repeat 
the suggestions "You cannot. Try, Try," while he 
is trying for the first minute, then you can remove 
your gaze and let him continue his efforts for a 
couple of minutes longer. The usual snap of the 
fingers and the suggestion "All right--wide awake, -- 
you can," will bring him out from the impression. 
Watch him closely as he is likely to fall forward, or 



102 



PMCTICALlNSTRUCTIOISf 

HYPNOTISM 





AND «VGGESTI02S 

Herbert!/. Flint. 



make a jump of three or four feet and may loo^ his 
balance. 

Be careful to see your subject never hurts 
himself. If he does, he loses confidence in you for 
other tests. 



HOW TO PREVENT YOUR SUBJECT FROM TAKING HIS FINGERS 
OFF HIS NOSE. 
You can have your subject seated or standing up 
as you prefer. Have him rest his left elbow in his 
right hand, and place the index finger of the left 
hand against his nose. You stand directly in front 
of him. Tell him to think of his right arm becoming 
stiff, also his left arm becoming stiff and his left 
elbow fastened in the palm of his right hand. Lean 
towards him and shake the index finger of your right 
hand in front of his eyes, looking him intently in 
the eyes, and say: "Now think of your finger becoming 
fastened to your nose", "Think of it being glued to 
your nose", "You will find it is fast to your nose," 
and "You cannot take it away". "Now watch my eyes 
closely and you may try to take your finger away"-- 
Try now--try, you cannot, try harder, pull it away 

103 



1 




W II I I 




-^^aioLlNSTRuai^r^: 
^ HYPNOTISM ^"^ 

AND -SVGGESTIOiS 

Herbert h. Flint. 



if vo-j can, ■ "You cannot , I knew you could' n't". After 
ho nas made the effort for thirty seconds or so, you 
can remove your gaze and stop the suggestions and 
let him try for a few minutes, as it is a very amusing 
test for the spectators. The usual suggestion of, 
"All right--Wake up all right, --Now you can", will 
suffice to remove the impression. 



"HOW TO PREVENT YOUR SUBJECT CLOSING HIS MOUTH". 
Have your subject stand in front of you. Tell 
him to relax all his muscles, and to close his eyes 
for a few minutes. Then tell him to look directly 
into your eyes, and to open his mouth as wide as he 
can. Then let the first three fingers of each hand 
rest on his temples, the right fingers touching his 
left temple, the left fingers touching his right 
temple. Make passes from his temple down his cheeks 
and off at his chin, pressing rather firmly, at the 
same time, saying, "Think of your mouth being wide 
open, think of your jaws becoming stiff, think of 
your jaws becoming set so that you cannot close your 
mouth". Keep looking him intently in the eyes and 
open your own mouth as wide as you can for thirty 

104 




seconds. Then continue the suggestions, at the same 
time, making the passes a little more rapid. "Your 
jaws are stiff and set, your mouth cannot be closed 
and you cannot close it; try to close it: you cannot; 
you cannot; try, try harder, try still harder." You 
can then remove your hands still holding his gaze 
for a minute. Then remove your gaze and let him con- 
tinue the effort for a minute or so. The usual snap 
of the fingers and the suggestion of, "Right, all 
right, you can close your mouth now", will allow the 
muscles to relax, and the mouth to close. 



CANNOT STOP HANDS MOVING,. 
Have your subject stand in front of you, bend- 
ing slightly forward. Have him extend his hands for- 
ward about six inches apart. Tell him to start his 
hands moving up and down--rather slowly at first. 
Have him look at his hands for 30 seconds, and to 
think of perpetual motion. Then have him look you in 
the eyes; lean slightly forward yourself, be as 
intent as possible. Then say to him "Move your hands 
faster. Keep moving them faster, still faster, 
faster, still faster." Your suggestions should be 

105 





^ HYPNOTISM 

AND «VGGESTI02S 



Herbert h. Flint. 



rather loud, earnest and quick. Tell him, "Now think 
you cannot stop, they are moving in spite of you. 
You cannot stop them, try you cannot; try harder, 
stop them if you can." 

When your subject is thoroughly under that im- 
pression, his hands will go faster and faster. A 
minute or so is long enough to continue the test, as 
it is a hard one and the muscles will often cramp in 
the arm. 

You can remove your gaze from his at your final 
suggestion "stop them if you can." At the same time 
tell him to look at his hands. 

The usual suggestion of "All right- -right - -wide 
awake. Right you are," will suffice to release the 
impression. 



CANNOT STOP HANDS ROLLING. 
This test can be produced on the same lines as 
the preceding one. Have your subject stand up 
before you about four feet away, tell him to bend 
forward quite a little, and to let the muscles of 
his hands and wrists relax. Tell him to start re- 
volving his hands around one another quite slowly 



106 




PbactkalInstruction 



HYPNOTISM 

jXISHD «VGGESTIO?S 



5x; 



Herbert k Flint 




and to think of perpetual motion. 

You may now lean forward yourself and start your 
hands revolving, about as fast as his are, then tell 
him to look into your eyes and to think of the fact 
that it is easier to keep his hands moving that way 
then to hold them still. 

You must now become as earnest as possible, 
look intently into his eyes; and start your own hands 
rolling a little faster. Now tell him to "Roll his 
hands faster, still faster, faster, faster, still 
faster." At the same time revolve your own hands 
still faster and faster, until you are rolling them 
about as fast as you can. Keep urging him to roll 
his as fast as you are yours, if not faster. Keep 
that up for a minute- -cont inually suggesting, "You 
will find you cannot stop rolling your hands--you 
cannot . " Etc. Etc. 

You may now let your left hand drop to your side 
and bring your right hand up in front of his face 
with a shaking motion, looking still more intently in 
his eyes and tell him "Now keep rolling your hands 
just as fast as you can, and you will find that you 
cannot atop rolling them." "Think of perpetual motion 



107 





Practice Instruction 
HYTOGTISM 

AND «VGGESTI02S 



HERDERfk Flint 



and you cannot stop those hands." "You may try if 
you like, the harder you try to stop them, the harder 
and faster they will roll." "Now try and stop them. 
Try, try harder, still harder." All this time you 
are looking intently into his eyes. Your right hand 
is flashing up and down in front of them. At your 
last suggestion "Harder, still harder," you may drop 
your right hand to your side, still holding his 
gaze and keeping up a line of suggestion in rather a 
loud positive voice. Let the words come out quick 
and sharp. "You see you cannot stop them. Try, try 
harder, try still harder to stop them." Then drop 
your gaze from his eyes to his hands and tell him 
to look at his own hands and not to take his eyes 
off them. Then continue. "Now stop them if you 
can." "Stop them I say." "You cannott You cannotl 
See you cannotl Try as long as you like and you 
cannot." You can let him continue his efforts for a 
minute or so, before giving the usual suggestion of 
"Right, all right." "Right you are." "You can stop 
ihem now." "All right, I sayl" 

The snap of your fingers will assist materially 
in regaining the attention of your subject. This is 



108 



PRA(TIC\LfrlSnttJCriON n^ v 

■^MUST! 



HYPNOTISM 




AND SVGGESTI02S 

Herbert h. Flint. 



one of the hardest physical tests to produce and 
bring the subject to the right conditions and a 
good test to give to all your subjects. You may have 
to work on them 15 or 20 minutes, and then fail on 
three out of five. In this very active test, you want 
to enter into the spirit of it yourself, letting 
your whole mind be absorbed in the test so there will 
be great energy shown in all your gestures and 
movements . 

It is a test that will make your own muscles 
ache, and after testing a couple of subjects, you 
will feel as though you had done a hard day's work. 
Still use the test, because if a subject will carry 
the impression, it shows he is good for any prolonged 
physical test. I find it one of the best to use in 
testing to see whether a subject will carry sugges- 
tions or not. 




INDUCING THE CATALEPTIC STATE. 
Catalepsy has been my specialty and is one of 
the most interesting tests produced by suggestion 
and magnetism. It is a condition in which all the 
muscles of the body become more or less rigid. A 



109 



WILL! 



^ HYPISOTISM * 

AND «VGGESTIO]N 

Herbert k Flint. 



YOU 
MUST! 



small child in this state, is capable of holding 
many times his own weight on his body while his 
ankles are resting upon the back of one chair, and 
his neck and shoulders upon the back of another. 
Before commencing this test, arrange two common 
kitchen chairs, having round backs, at about the 
right distance apart, the backs facing each other so 
that when the subject is placed across them, his 
ankles will rest on the back of one and his shoulders 
upon the back of the other. Place small cushions on 
the top of the backs of the chairs, so that the backs 
of the chairs will not bruise the subject while 
undergoing the test. Have a person sit upon each 
chair, so as to keep them from slipping, and to hold 
the subject in position on the chairs in order to 
prevent his falling off. When you have everything 
ready to induce cataleptsy have one of your best sensi- 
tives stand erect in front of you, heels together, and 
hands hanging limp at his sides. Have some one stand 
behind your subject to keep him from falling while 
you are inducing the state. Tell your subject to 
take a tight hold of his trousers and to think of 
every muscle in his body becoming as rigid and stiff 

110 





MCTKALl^STRUCriaM 

HYPNOTISM 

AND «VGGESTI02N 

Herbert k Fmjr. 



as a bar of iron. Tell him to look into your eyes. 
Now begin to give suggestions of rigidity; tell him 
that he will not fall over. Be sure to try and induce 
a line of thought on his part of becoming rigid before 
giving suggestions for the rigid state. After you 
see that he is becoming influenced, suggest as fol- 
lows:-- "Now don't be afraid. No harm will come to you. 
Your heart is beating normally and will beat normally . 
Now inhale deeply, keep inhaling deeply . Now stiffen 
up. Stand as erect as possible, throw your head back 
and you will find that all the muscles of your body 
are becoming rigid and stiff. Rigid, rigid. Inhale 
deeply. Grip your hands tighter. Still tighter." 
Then grip his left shoulder with your right hand and 
his right shoulder with your left hand; look him 
intently in the eyes a few seconds; tell him to look 
upwards; then to close his eyes and keep looking up- 
wards; then press downwards on his shoulders as 
heavily as you can for twenty or thirty seconds, con-^ 
tinuing the suggestions of becoming rigid and stiff. 
Then pass your hands rapidly down his shoulders over 
his arms and hands, continuing the pass down over the 
outside of his legs as far as his ankles with a 



111 




PracticalImstriiction 




HYPNOTISM 



Herbert h. Flint 



sudden downward pressure on his insteps and the 
sugestion of "Rigid" as you do so. Repeat that pass 
four or five times, then if the subject is not rigid 
snough, continue the suggestions until he is com- 
pletely rigid. It may require ten or fifteen minutes 
of hard work on the part of the operator to induce 
the condition. Then lift him carefully and place 
him on the backs of the chairs. After he is placed 
across the chairs have one of the assistants hold 
his shoulders and the other his ankles. One or more 
persons can sit or stand upon him for a few minutes. 
You should always be ready to give suggestions of 
"Rigid" and "stiff" in case the subject shows signs 
of bending or coming out of the condition. 

I have often placed five, six or seven subjects 
in this condition and having piled them up to repre- 
sent "The human wood pile," have stood upon the topmost, 
thus presenting a very interesting scene. A subject 
in a cataleptic state ought to be able to hold up 1000 
pounds or so. Five hundred pounds is, however, a con- 
vincing test. Pour heavy men standing upon one 
subject, presents a good effect. 

■The Rock Breaking" is an exciting and interest- 



US 




Pmctkm,Instru(iioM 




HYP1SDTISM 

ANT) 5VGGESTI07S 



HeebertI/. Flint, 



ing test. In order to successfully present this 
scene, secure a limestone rock weighing about 400 
pounds, 32 inches long, 22 inches wide, 7 or 8 inches 
thick. After placing the subject in the necessary 
state, place some padding on his body and lay the 
rock on the padding so as to elevate the rock about 
one inch or so from the subject's body. Get a steady, 
strong man; one who is accustomed to wielding a 
sledge hammer, and have him deliver the blows, start- 
ing lightly, and increasing in force until the rock 
is broken. It may require eight or ten blows. It is 
always advisable to place a handkerchief over the 
subject's face. Have two assistants hold the 
subject on the chairs (as stated in presenting the 
cataletpic test)and four assistants to lift the rock 
on the body of the subject. 

The operator is standing at the back of the 
man holding the subject's shoulders, his arms over 
the man's shoulder, and holding on the rock, ready 
in an instant to throw the rock off the subject's 
body should anything go wrong, --say the rock slip- 
ping, or a chair, or one of the assistants failing 
to hold the subject in place. Always look after the 



113 




RACTIOVLlNSTRlJaiON 




HYPNOTISM 

AND «VGGESTI02S 



Herbert h. Flint. 



interest of your subject, first, last, and always, 
in tests of this kind, thus begetting confidence on 
his part towards the operator. Try and feel the 
suggestions as you give them. 



ANESTHESIA. 

Minor surgical operations may be performed with 
the greatest success while using suggestion as an 
anesthetic and no possible injury can result to the 
patient. Teeth may easily be extracted while the 
patient's jaw is locally anesthetized by suggestion. 

Anesthesia may be induced in any one part, or 
almost the entire body, at the will of the operator. 
After getting your subject in a receptive state ask 
him to look at the back of one of his wrists; to gaze 
at it steadily and to concentrate his thoughts on the 
fact of the wrist becoming numb. Be sure and enter 
into the spirit of the suggestion yourself. Then ask 
him to look into your eyes and say to him, "Now think 
a minute and you will find your wrist is becoming numb. 
You will find in a minute or two you have no feeling 
whatever in your wrist." Repeat these suggestions 
ialf a dozen times very slowly. Be firm and posi- 



114 




BACTKALlMrRlJCnON 




HYPNOTISM 

ANT) «VGGESTI02S 



Herbert h. Flint. 



tive in your tones, putting more emphasis on the words 
"no feeling" each time you give the suggestion. Rub 
the back of the wrist gently with your right hand, 
holding his hand in your left hand. Let the passes 
be backwards or away from the wrist. All this time 
keep looking intently into his eyes. Then you can 
say, "Now you feel your wrist getting numb. You have 
not a particle of feeling in it. All sense of feeling 
is going." (Of course you understand your subject is 
entirely conscious to surrounding conditions and all 
the rest of his body is more or less sensitive to 
feeling except that one wrist. You can, of course, treat 
any portion of the body in the same manner, or even the 
entire body, and have the subject conscious and wide 
awake.) When you think you have the subject's wrist 
perfectly anesthetized, you may lift up the loose 
flesh on the back of his wrist and say, "You cannot 
feel a thing in this wrist. It is numb. It has no 
feeling. You know you can't feel any pain in this 
wrist. I am positive you CAN'T feel any pain there." 
Now pick up the loose flesh between your thumb and 
finger letting your thumb nail cut into the skin 
pretty hard and say, "I know you CAN'T feel that, it 



116 





^ HYF1SOTISM 

AND «VGGEST102S 

By 

Herbert k Flint. 

don't hurt. I am positive you CAN'T feel it. This 
will not hurt, it will not even bleed. You can't 
feel it now, can you? Most decidedly you CAN'T." 
If your subject should not answer, then say in the 
same even positive tone, "You CAN'T feel it, now can 
you? Tell me if you do." If he should say he can, 
simply repeat the suggestions with more force and 
posit iveness . Also repeat the passes. Then ask him 
again, and if he says he cannot feel it, you can take 
a steel hat pin, or a needle, and pass it through the 
piece of skin or flesh and he will not feel it, nor 
ought there to be any flow of blood. At the moment of 
passing the pin through the flesh you should not 
hesitate nor appear excited, but keep looking 
intently in his eyes, and push the pin through with- 
out any fear for it will not hurt him any more than 
it would if you run it through his coat sleeve. In 
withdrawing the hat pin do so quickly. Rub the finger* 
of the right hand over the puncture a few times, and 
there will be little or no mark to show where it 
had been. 



ue 




in \> YOU 

HYPNOTISM ^ TOr 

AND «VGGESTIOTS 



HERBERT I/.FLENJT. 




THE DIVIDING LINE BETWEEN PHYSICAL AND MENTAL WORK. 
You should thoroughly learn and understand how 
to produce the physical tests in Hypnotism before 
attempting any of the mental scenes. Every subject 
ought to be tried in all the physical tests in the 
order I have given them, before attempting the 
following scenes. Each test is a little harder than 
the preceding one. The result, your subject is gradU' 
ally worked up to the condition required to accept 
hallucinations. 



THE BUTTERFLY TEST. 
After having gone through all the physical tests, 
then you can test your subject for mental work. You 
will find that many of your subjects, whom you can 
control for physical tests, will not be susceptible 
to the mental work. The imagination of the subject 
now comes into play. The first mental test to give is 
the "Butterfly Test"; it is the easiest and the one 
in which you can note the conditions of your subject 
best. You must try to see and feel the same conditions 
and sensations yourself. Have your subject stand up, 
then stand in front and a little to the right of 



1 17 



11 



J£\ 



f+ n 



i 

WILL! 



Practical Instruction 
HYPNOTISM * 

ANT) «VGGESTI02S 

Herdert'I/. Flint. 




him. Let your left hand rest on his right shoulder, 
lock him intently in the eyes for a few seconds, 
then tell him to close his eyes. Now give sugges- 
tions as follows: "I want you to try and bring a 
picture of a butterfly before your eyes; think of a 
butterfly, think of how it looks; now imagine you 
can see it." Repeat those suggestions a half dozen 
times. Then tell him to open his eyes and look at 
the ends of the fingers of your right hand, and to 
think of a butterfly resting on them. Make graceful 
sweeps of your hand through the air, bringing your 
hand to within a few inches of his eyes every few 
seconds. While making the sweeping motion of your 
hand, keep giving him suggestions. "See the butter- 
fly on my fingers; How pretty it is; it is the finest 
you ever saw; It is there; See it? It is gcing to 
leave my fingers and fly away-- there it goes". At 
the last suggestion, your hand is as far away as you 
can reach. Hold it still for an instant, then let it 
drop to your side. Let your left hand press rather 
heavily onhis right shoulder at the suggestion, "there 
it goes". You can then take your hand off of his 
shoulder. Keep watching his eyes intently all the 



1 18 





MCTKALlNSTRUCriON 

HYFlSOriSM 

AND «VGGESTI02S 



Herbert h. Flint, 



time you are giving the suggestions. You will be 
able to note the peculiar look which will come into 
his eyes as he commences to see the butterfly; the 
enlargement of the pupils, the peculiar rapt gaze. 
Then is the time to let the butterfly leave your 
fingers. You can let your subject follow the butter- 
fly with his gaze for a minute or so, then give the 
suggestion: "Now try and catch it if you like, it 
is flying around your head. There it g es along the 
floor." You will soon have him trying to get it. 

The usual suggestion of, "right, all right, wide 
awake", repeated half a dozen times, with the snap 
of your fingers, will bring your subject back to hia 
normal self. 



PRESENTING THE PLEA TEST. 
Have your subject seat himself and stand about 
five feet away from him. Tell him to relax all his 
muscles; have him close his eyes for a minute or so, 
and tell him to let his mind be as receptive as pos- 
sible and to try and think only of your suggestions. 
Tell him to think how a flea bites and how the bite 
itches, especially when bitten between the shoulders, 



119 




and to think how it irritates him. Continue the 
suggestion along this line, speaking in an earnest 
low tone of voice during the time your subjeot is 
seated with his eyes closed. 

Now try and feel the itching, biting sensation 
upon your own back; then commence to indicate by 
action and expression that you yourself have been 
bitten, and tell your subject to open his eyes and 
look at your eyes. Continue the action and expres- 
sion on yourself, step forward, lean over your subject, 
let your left hand rest on the back of his right 
shoulderblade and press the index finger of that 
hand between the shoulder blades with a trembling 
motion; then say to him and mean it: "There is wher* 
it has bitten you ; "--"Fee 1 it itch you ; " --"Right 
there ; "--"My, how it itches ;" --"You oannot keep still 
it itches you so;"--"You will want to rub your back 
and scratch it." All this time you are moving your 
own shoulders as though a flea was biting you. You 
must be as intent as possible. 

As soon as he commences to wriggle a little, 
become still more intense, and keep up a running fir« 
of suggestions along the line of the above. After 

120 




the impression has taken effect, you can remove your 
gaze and stop your suggestions. 

A good subject will grow more intense in this 
scene, so keep watching him because he is liable to 
remove his coat, vest and often his shirt and under- 
shirt in his search for the flea. Never attempt this 
scene until you have tried him thoroughly with phys- 
ical tests and proved him to be a good subject in 
them. It is a good test with which to follow "The 
Butterfly Test. » 

Be very careful to thoroughly remove the impres- 
sion by the usual formula of "Right, all right, wide- 
awake, right I say," etc., etc. A subject will 
often retain the impression of that flea bite for 
several hours, so watch him carefully. 



THE NOSE BLEEDING TEST. 
Have your subject stand up in front of you, 
bending slightly forward, with his head dropped 
slightly forward; then tell him to close his eyes 
and to think of the last time his nose ever bled, and 
to think of the tickling sensation of the blood run- 
ning down his face; then tell him to look at your eyes. 



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HYPNOTISM ^ 

AND ^VGGESTIOiS 

Herbert k Flint. 




YOU 
MUST! 



Start and touch his face from his nose to his chin 
with the finger tips of your right hand, vibrating 
them; repeat the pass a dozen times and say to him: 
"Look, your nose is bleed ing ;" --"Peel the blood run- 
ning down your f ace ;" --"Look at it on my fingers;" 
"See it on your tie, your shirt there ; "--"Look at it 
on your vest and coat ; " --"My , how your nose is bleed- 
ing;"--"Wipe it off I say;--wipe it off, do." He will 
likely commence to look at you in a dazed way and 
at his shirt, vest and coat. 

As the suggestions become a fact to his mind, 
he will become very earnest in his efforts to stop 
his nose bleeding and to clean his garments. When 
the impression is thoroughly induced and the 
hallucination becomes perfect, you can carry out 
the line of thought by telling him he can wash his 
face if he likes. Hand him an empty pail or basin, 
pass your hand around it upon the inside several 
times and say to him; "See, it is half full of water. 
Now wash the blood off your face, etc. ," and it is 
likely, he having accepted the suggestion of nose 
bleeding, will carry out the further suggestions of 
washing his face in an empty pail. Do not try to 

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HYPNOTISM 

ANT) «VGGESTI02S 



Herbert kFLwr 



make him believe a pail or basin of water is there, 
without having the empty article to help you out in 
your illusion. 

The usual suggestions of "All right, wide-a 
wake ," --"Your nose is not bleeding, it has stopped;" 
"All right I say ;"-- "Wake up, wake up, wake up;" will 
suffice to bring him back to his normal state. I 
find the trouble with beginners is, they do not pay 
enough attention to removing the impression from 
their subjects. Be sure and always do so with yours 
before proceeding with another test. Almost any 
subject accepting the Butterfly and Plea tests will 
accept this and carry it out in all its details. 



THE MOLASSES TEST. 
Have your subject seat himself in an easy posi- 
tion. Let him close his eyes for a minute, and tell 
him to think of molasses; how sticky and sweet it is. 
Tell him, if he had molasses in his pockets and put 
his hands in them, the molasses would run out of his 
pockets on his trousers and stick to his hands, and 
if he was not careful when he drew his hands out of 
his pockets, the molasses would drop all over his 



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RACTKALlNSraTCIHW 

HYPlSGriSM 



Herbert h. Flint. 




clothing. Make the word picture of your scene as 
vivid as possible during the time his eyes are 
closed . 

Now, tell him to open his eyes and look at you. 
Look him intently in the eyes for a few seconds, then 
say, --"Now, put your hands into your pockets; Now, 
think of your pockets being full of molasses; My, how 
nasty and sticky it feels". Repeat the suggestions 
half a dozen times, all the while looking him intent- 
ly in the eyes until you note that peculiar expres- 
sion come into his eyes. Then become more earnest; 
lean forward and tell him, "Now you can draw your 
hands out of your pockets" -"Try 1 how hard it is to 
get them out"--"Look at them---See the molasses all 
over them M --"It's dripping on your trousers--It is 
running out of your pockets --My, how sticky it feels." 
"Taste it if you like— It is sweet is it not?"--"Wipe 
your hands off --clean them." All the time try and 
feel the conditions, and by your voice, gesture and 
expression add to your suggestions. This scene can 
run for several minutes. In fact, it is a good test 
to leave the subject in, to follow out his own ideas 
after the impression is once felt. The usual sugges- 



124 




tions of "All right" "Right you are" "Right - -Right " 
"The molasses is gone" etc. etc. will suffice to 
assist him to get rid of the feeling and impression 
and bring him back to his normal state. 



TURNING COAT INSIDE OUT. * 
Have your subject stand in front of you. Put 
your hands on his shoulders, letting them rest 
rather heavily. Look him intently in the eyes for a 
minute and then have him close his eyes. In giving 
the suggestions be earnest and emphatic. While his 
eyes are closed say to him: --"My, what is the matter 
with your coat?— How did you manage to put it on 
that way without noticing it?"— "What have you been 
trying to do, fool me?" "Did you think that I would 
not notice that your coat was on inside out"?--"The 
idea--you want to change it, put it on the right 
way." "Open your eyes and look at me!"--Hold his 
gaze a few moments, then go ahead more earnest than 
before with your suggest ions . --"Come , change your 
coat, put it on right." Look at the lining of the 
sleeve there . " 

Now let your hands drop off his shoulders and 

125 




(^Practical Instruction 

5a 'n \r you 

* HYPNOTISM ^ MUST 

AND «VGGEST10^ 
By 

Herbert k Flint. 




down his arms to about his elbows and then pinch his 
coat sleeves and shake them a little. Call his at- 
tention to them, letting him remove his gaze, direct 
from your eyes to the coat sleeve. Don't let him 
look around. Then continue, "There, see the lining 
is on the outside,— the idea of such a thing— you want 
to change that coat." "Take it off and turn those 
sleeves right side out and then they will be all 
right." Assist him in taking off his coat; keep up a 
running fire of comments; don't let his mind wander 
from that one impression until he has got his coat 
off, the sleeves changed and the coat put on again. 
Then continue your suggestions: "Now it is all right; 
your coat is on right," Etc, Etc. There will likely 
be a puzzled expression on his face during this test 
until you have got him to change his coat, then he 
will settle back in a chair (at your suggestion) 
with a most satisfied expression upon his face. You 
can have a lot of amusement with him, by having some- 
one talk to him, and tell him that his coat is on in- 
side out. He will argue it is not, etc. 

He is normal on every topic except his coat. 
You can carry the test as far as you like even to 



126 




MaiCALlNSTRUCTIOlSf 




HYPNOTISM 



AJSD 5VGGESTIOIS 

HERBERT I/. FUWl. 



the extent of making him angry by persisting in 
talking of the coat. From that test, without re- 
moving the impression, you can carry him back into 
the "Molasses", "Nose--Bleeding" "Plea" or "Butter- 
fly" tests. If you do you will find when awakening 
him the last impression only may be removed, he still 
retaining the impression of the coat being on right. 
So, you must proceed to give suggestions pertaining 
to that subject direct, like: "Look me in the eyes." 
"Now, look at your coat, it is inside out"— "Look at 
it"-- "All right— -all right" "Look at that»--"All 
right--all right". It may take several minutes of 
good hard' work to get him to realize his coat is on 
inside out. But, never quit until you have him back 
in his normal state. 



SNEEZING- TEST. 
To produce the above effect upon your subject, 
have him seat himself with his left foot over his 
right at the ankle, hands hanging limp at his side 
and all of his muscles relaxed. Let him close his 
eyes for a minute or two and while his eyes are 
closed tell him to "think of a cold in his head and 



27 



I 

WILL! 



PMCTICALlNSTRUCriON 

L HYPNOTISM * 

AND «VGGESTIO^ 

Herdert L. Flint. 




YOU 
MUST! 



think of the best thing in the world to relieve it," 
viz: "a few pinches of old Scotch snuff," just enough 
to make him sneeze good and hard. Continue your 
suggestions along the same line by saying "you 
would rather use snuff for a cold in the head than 

anything in the world," keep telling him to "think 

think of the effect of taking snuff, how it clears 
the head, etc. ,"then have him open his eyes and look 
into yours, and tell him to "think of my left hand 
being full of Scotch snuff." Hold your left hand 
within a couple of feet of his face and take a pinch 
of it yourself and snuff it up your nose, telling 
him to do likewise. Have your left hand half closed, 
as though you had it full of snuff, and suggest to 
him "see that snuff, there, my hand is full of it;" 
"my! you have such a cold in your head and you want 
to take some." "Do help yourself; there, take a pinch 
of it;" "now, snuff it right up your nose;" "that's 
good, it will make you sneeze and clear that cold 
from you head 1 " 

By this time your subject ought to commence 
sneezing and he will likely sneeze half a dozen times, 
when the effect of the snuff will wear away, just 



128 




PMCTICALlNSTRUCnoK 




HYHSOTISM 

AND «VGGESTIOIN 

By 

Herbert 1/. Flint. 



as it would if he had taken the real thing. You can 
keep handing him some more, and the longer you keep 
giving him the suggestions the harder he will 
sneeze. 

It is not advisable to hold a subject in this 
test longer than three or four minutes; it is a very 
severe test and hard on your subject. The snap of 
your fingers and the usual "all right; right you are; 
all right, wake up," repeated half a dozen times will 
bring him back to his normal self again, and feeling 
clearer headed than when you began the test. 



THE HEAT AND COLD EFFECT. 
Have your subject seat himself, leaning for- 
ward with his hands resting on his knees. Tell him 
to close his eyes, then take up a line of suggestion 
as follows: "Think of when you suffered from the 
cold, how cold your feet and hands got, how you 
shivered, how your teeth chattered, how cold you felt; 
my I how cold it is getting to be here;" with a kind 
of a shiver say "ugh! it is cold." After using sug- 
gestions as the above for a minute have your subject 
open his eyes and look at you. You must now try and 

129 





^PRAaiCALlNSTRUCIION 

^ HiTOOTISM * 

AND 5VGGEST102S 

Herbert k Flint. 



Y0U ±m 

MUST! ciLJM 



feel the condition yourself, and it is not hard to 
do, to feel cold. Be just as earnest as you can by 
gesture, voice, action and suggest ion- -carry out 
your part. Hold his gaze and say to him," My I you are 
feeling cold and no mistake , " with a shiver, "Boo-h! 
it is cold and 'tis getting colder." "Your feet and 
hands are getting cold;" "stamp your feet, slap your 
hands." "Get up out of that chair and you will find 
you are almost stiff from the cold." "My I how your 
teeth are chattering." 

By this time your subject ought to be shivering 
and likely will turn up his coat collar and stamp 
around; by keeping up the suggestions he ought to grow 
deeper and deeper under the impression. After he 
has thrashed his arms and stamped around for a couple 
of minutes, you can turn a chair over and call his 
attention to this beautiful hot stove. Now show him 
the top, the oven, the front and the fire; tell him 
to feel the heat coming out of it. If he does not 
respond by coming up to the stove, lead him there 
and say "Feel that heat, nice and warm, eh?" "Put 
your hands over that stove and feel the warmth" 
"Turn around and warm your back. " When the impres- 



130 




PMCTIOLlNSTRUCnoNN^ 

in \r you 

HYPNOTISM ^ MUffn 

ANT) «VGGESTI02S 
5v, 



Herbert k Flint. 




sion is once settled upon his mind that it is a stove, 
then it will grow stronger and deeper than the impres- 
sion of cold. You can have him hug up to the stove, or 
sit on the floor and take off his shoes and stockings 
to warm his feet, by telling him to do so, as he 
nearly froze his toes, etc. 

To properly present this test in all its phases, 
it will require about ten to twelve minutes, and a 
most interesting test for yourself and the specta- 
tors. The different expressions upon his face, his 
actions and gestures, and the remarks he may make, 
will prove most amusing. 

The snapping of your fingers and the usual "All 
right, right you are, wake up 1 wake upl wide awake I 
say" will remove the impressions induced. Be sure 
and thoroughly awaken him. 



THE PISHING TEST. 
In presenting the above scene have your subject 
seat himself with his right hand clasping his left 
wrist, and his left foot over the right at the ankles. 
Have him close his eyes and then say "I want you to 
tbink of the pleasure and delight of fishing." 



L&l 




^PBACriCVLlNSTRUCriON 

^ HYPlSOriSM 

AND 5VGGEST102S 



Herbert k Flint 




•I want you to think of the excitement of catching a 
two pound trout; think of your pole, your line, 
your hook, your reel; think of how you put your bait 
on; think of using worms for bait. Think of the fact 
you want to go fishing; you would rather fish than 
eat," etc., etc., etc. Repeat those suggestions three 
or four times and add to them, if you like, for a 
couple of minutes during the time his eyes are closed, 
then continue: "Think of fishing off a bank into a 
stream, and think of sitting on a stump. Think of 
your bait on the bank at your side and think of 
catching a fish and pulling it up and taking it off 
the nook and placing it at your side." Make the word 
picture of the scene as vivid as possible, picture 
it to your own mind's eye, and relate the conditions 
you expect to induce as realistic as possible. Now 
have him open his eyes and look into yours. (Have a 
whip handy so you can grasp it with your left hand, 
also an empty tub or pail near by.) Now look him in- 
tently in the eyes and say to him, "You want to go 
fishing! you dol don't you? certainly you do." Lean 
forward, nod your head and continue, "I have a splen- 
did fishing Pole; see? here it is." Grasp che wnip 

132 







PRAaiOVLlNSTRUCriON 



IN 



hyhsotism 

J\I^D «VGGESTI02S 



Herbert k Flint 




in your left hand, bring it around in front of his 
face and direct his gaze to it, say to him-- "there , is 
not that a beauty? look at that reell see that linel 
that hookl" Point with your right hand to the pole, 
the reel, the line. Then as though grasping the line 
and hook bring it up to his eyes, and continue, 
"There, take hold of that hook." 

If the effect has been rightly induced he ought 
to reach out and take hold of the supposed hook; 
- hen have him take the pole, and stand up, lead him 
iround a few steps, all the time talking to him of 
the delight and pleasure of fishing, then commence 
suggestions as follows: "See that stream there?" 
(pointing towards the supposed stream) "My 1 how clear 
the water is; you can see the fish in it. Look! look 
at that one; it's a beauty, isn't it? This is a great 
place to fish. Look at that stump there," pointing 
to a chair you have turned over near the pail or tub. 
"Sit down; it's a nice place to fish, near that deep 
hole there" (pointing to the pail or tub for the deep 
hole). After he is seated, show him the can of bait 
at his side and tell him to "Bait his hook and enjoy 
himself fishing for half an hour or so." If the 



138 




^MaiC\LlNSTRIICTIO]S/ 

X IN \C Y0U 

* HYPNOTISM ^ MUST! 

AND SVGGESTlOiS 

Herbert k Flint. 




hallucination has been perfect and strong enough, he 
will proceed to go through all the movements of a 
man fishing, perhaps drinking from a supposed bottle, 
lighting a pipe, cigar or cigarette, and thoroughly 
enjoy himself, much to the amusement of the on-lookers. 

This is another scene which takes ten to fifteen 
minutes to give, and is a splendid test to produce, 
especially if the subject likes to fish in his normal 
state . 

When satisfied with your test, the usual sug- 
gestion of "right you are, all right! right! right! 
right! Wake up! wake up!" will bring him back to 
his normal state. Be sure he is wide awake before 
you let him go. 



THE BABY TEST. 

To present the above scene, have your subject 
seat himself in a rocking chair with his arms rest- 
ing on the arms of the chair. Stand at his left 
side and ask him-- "Have you ever seen a happy daddy 
rocking and singing his baby boy to sleep? Are you 
married? Sorry you ire not, Eh? M 

Tell him to close his eyes, and to let his 






134 



WILL 



^ HYPNOTISM * 

AND «VGGESTI02S 

Herbert h. Flint. 



YOU 
MUST! 



muscles relax, and to think of going to sleep. Let 
your right hand rest on the back of the rocking chair, 
and your left hand on the top of his forehead, and 
gently rock him back and forth, and give suggestions 
as follows: "Sleep; Sleepy; Sleepy; Sleep; You are 
going to sleep; You want to sleep. Deep asleep. You 
are dreaming of a happy young daddy rocking his baby 
to sleep. You are dreaming of the fact that you are a 
married man. You have been married about two years 
and have a six months' old baby boy. You like to 
sing and rock your baby to sleep, and when it cries 
you cuddle it up and kiss the baby boy. You are 
sleeping and dreaming; sleepy, sleepy, sleep; deep 
asleep. " 

Now cease rocking him; rest his head on the 
back of the rocking chair, and take a rag doll if 
you have one, if not, roll up a coat or shawl to 
represent a baby. Step in front of him, place it in 
his arms, the left arm under the baby's shoulders, 
and the right arm over and around the body of the 
baby, just as a person would hold a baby. Now let 
your left hand rest on the back of the rocking chair 
and continue the act of rocking him while giving 

135 



^PBA(TIC\LlNSTRUCnON 

* HYPNOTISM * 

AND «VGGESTIOiS 

Herbert k Flint. 



Y0U A^t 

MUST! dlLM 



suggestions as follows: "You are sleeping and dream- 
ing of rocking your baby to sleep. The baby is in 
your arms; pretty little baby boy." Now stop rocking 
and tell him to open his eyes (don't say wake up) and 
look at you. Look him intently in the eyes for a 
few moments, then direct his gaze and attention to 
the baby in his arms, patting the baby and tickling 
it under the chin. Continue the rocking and say to 
him, "Be careful, don't hurt the baby--poor little 
thing--rock it to sleep." 

By this time -the impression should be thoroughly 
developed and he ought to take care of the baby like 
a happy young daddy, speaking to it, dancing it up 
and down, etc., etc. You can continue the line of ac- 
tion to suit yourftelf. You can have him feed the baby 
some pap by handing him a hat for a bowl and a stick 
for a spoon. Tell him "To be careful and not hurt 
'he baby," etc., etc. 

After he has fed the baby, you can suggest about 
its getting restless, and he will want to get up and 
walk around with it. Then have him come back and sit 
down, and suggest he wants to sing it to sleep, etc., 
etc. If he has a good voice, you will get some good 

136 



I 

WILL! 



PRAaKALlNSTRUCriON 

* HYPNOTISM 

ANT) «VGGESTI02S 

Herbert k Flint. 




singing. If he has not, you will get a clever attempt 
at it. The impression has grown very deep in his 
mind by this time, and usually it takes quite a 
little effort to awaken him. So expect to repeat the 
suggestions half a dozen times of "Right! All rightl 
Wide awake! Wake up! I say. Come, wake up! Rightl 
Right! Wide Awake!" and the snapping of your fingers 
will bring him back to his normal self again. TLj 
awakening will create quite a little amusement, as 
he commences to realize what he has been doing, by 
finding the doll in his arms. I have often kept an 
audience of 1200 people laughing until their sides 
ached for twenty minutes with this scene, and it is 
just as amusing to a room full of company as it is to 
a theatre full, and a scene that is always interesting 
to the operator himself. 

THE HORSE RACE. 
To have your subject drive a horse, have him sit 
down in front of you; tell him to lean forward and 
place his hands on his knees with his feet stretched 
apart, as though seated in a sulky. Tell him to 
look into your eyes for a few moments, place both 



127 





SPRACTIOVLlNSTRliaiON 



mraarisM 

AND SVGGESTIOiS 

Hejrderx k Flint. 



of the palms of your hands on his head; bend forward 
looking him intently in the eyes, and tell him to 
close his eyes and say --"Think of any horse you have 
ever driven, and think of any horse race you have 
ever seen. I want you also to think of a race track-- 
a mile track. Now just think of the excitement of 
driving a horse in a race. Just think if you were 
driving any horse, how you would urge him forward. 
How you would try and pass under the line first. 
Now think of any horse you would like to drive; think 
of the color of that horse," etc., etc. 

You can carry out any suggestions along this 
line to suit yourself, according to the effort you 
will have to make, to induce the conditions on your 
subject. Be earnest in your suggestions, and do not 
let your hands rest too heavily on his head. Now take 
your ha ids off his head, and move about four feet back, 
and to the right of him, lean forward and tell him 
to open his eyes and look into yours. Now go through 
the motions of patting a horse along side of you, and 
in front of him, as though the horse was hitched to 
a sulky, and he was seated in the sulky. Show the 
horse to him, outline the horse as though you were 



138 



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HYPNOTISM 

ANI> «VGGESTIO]N 



Herbert k Flint 




stroking him. Call attention to the horse's head, 
and how it is checked up. Tell him--"The horse is a 
little restless," etc. Now show him the reins as 
though you were holding them. Then hand them towards 
him, saying: "Here, take hold of these reins, you 
want to drive him. You are already seated in the 
sulky. Tou want to drive this horse in the coming 
race; you do! Isn't he a beauty? Be careful as he 
is a little hard mouthed. You had better pat him, 
an: speak to him as you take the reins. Here, take 
them. " 

During your suggestions, your subject ought to 
have followed your gestures with his eyes, and the 
impression grown on him until by this time he can see 
the horse in its entirety. Call attention to the 
roughness of the ground, and to the other drivers 
and horses around him. Show him the race track, the 
judges' stand, the Grand Stand. Tell him all about 
starting, and to listen for the bell. If accustomed 
to driving, he may place the reins under him, grasp 
the whip you hand him, talk to his horse and argue 
with you about him. Perhaps start in a conversation 
with the other drivers around him upon the merits and 



1S9 




PMCTIC\LlN5TRU(TI0]S[ 



HYPNOTISM 

AND «VGGESTIO?S 

Herbert k Flint. 




demerits of their respective horses, etc. Now pass 
behind your subject and lean over him, still direct- 
ing his attention to his hors a , getting just as earn- 
est as you can, and as excited as though you were 
one of the spectators of an exciting horse race. Then 
continue your suggestions something like this: "Look 
out 1 Look out! Get ready; they are going to start. 
Keep your horse steady. Watch out for the horses on 
both sides of you. There goes the belli You are all 
off. You want to win this race." etc. 

Keep up a line of suggestions, telling him about 
reaching the quarter, the half, the three quarter mile 
pole. Make him whip his horse and yell at him. You can 
let your hands rest on his shoulders while giving him 
these suggestions, and intensify him in the excite- 
ment he feels, as in this scene you ought to work him 
up to the highest pitch of excitement, and he will 
accept any suggestions you give him in the way of 
turning out for any horse ahead of him in trying to 
pass one of the others. For the finish you can bring 
in two horses nose and nose, and create quite a lit- 
tle excitement between your subject and one of the 
audience, by telling him he is one of the other 



140 




HAcncALlNSTmjcnoisf 




HYPNOTISM 

ANT) «VGGESTI02N 



Herbert I/. Flint 



drivers, and he says his horse has beaten yours, etc. , 
etc. Get him to appeal to the judge for a decision, 
and many times you will get a splendid plea from your 
subject in trying to win the judge over to his side. 

This scene can be run from ten to twenty minutes, 
and every moment of it interesting to all the specta- 
tors. A half dozen snaps of your fingers, and the 
usual suggestions of--"Right! All right! Right you 
are 1 Wake up I Wake up! All right I All right, I say," 
will generally bring your man back to his normal 
state. 



HOW TO MAKE AN ORATOR OUT OF YOUR SUBJECT. 

Have your subject seat himself with his hands 
resting on his knees. Ask him--"Are you a Democrat 
or Republican?" After he has replied, tell him to 
close his eyes, and to think of any stump speakers 
he ever heard. Think of the gestures they used, es- 
pecially when they got warmed up to their topic. To 
think of what a grand thing it is to be able to speak 
and move a vast audience. Why, the aim of your life 
is to be a good speaker, etc., etc., etc. 

After giving suggestions along this line for a 

Ml 





PracticvlInstrtioton 



HYPNOTISM 

AND SVGGESTlOiS 



Herbert I/. Flint, 



minute, then if he said he is a Democrat, say to 
him--" Why, you have been a stump speaker for years 
past, advocating every plank in the Democratic plat- 
form. You are known all over the State as one of 
the most forcible talkers among the Democratic 
speakers. You love to talk, you love to argue. You 
would rather address an audience upon your favorite 
subject of the Democratic party, being the Working- 
man's party, the friend of the down-trodden workman" 
e tc . , etc., e tc . 

During this time you are standing in front of 
your subject putting just as much earnestness in your 
voice as possible. Continue a lot of suggestions 
along that line, or any other line connected with 
the Democratic party that you wish him to talk upon. 
After being sure y'our subject is thoroughly impressed 
with your suggestions, say to him--"Open your eyes, 
and look at me." Then say--" My, vhat a broad shoul- 
dered, deep chested man you are." When giving this 
last suggestion, stand erect yourself, and throw 
your own shoulders back, all the time looking in- 
tently in his eyes. Now make a sweep of your right 
hand as though showing him an audience in front of 



142 





PracticalInstruction 
HYHSbriSM 



A?^T) «VGGESTIO]N 

Herbert k Flint. 



him, and continue — " See that vast audience there — 
the Hall is completely filled, not a chair in the house 
vacant, and they all came to hear you talk." A sug- 
gestion of that kind appeals more or less to the 
vanity of any speaker, and as your subject has by this 
time taken on the condition suggested to him, it 
appeals to his vanity, and that part will help you to 
bring forth the Orator. Continue--" There are as 
many ladies as gentlemen present, and half of them 
Republicans, the other half Democrats. Now you want 
to win those Republicans over to your way of think- 
ing, and you will. You will find you can talk just 
as fast as you can think. Go ahead now, don't keep 
them waiting any longer, the chairman has introduced 
you. Start right in there, with 'Ladies and Gentlemen*" 
Etc. By this time you should be very intense and 
earnest your self . Lean towards your subject, let your 
left hand rest on his right shoulder and gently pull 
him forward toward the supposed audience, or 
toward the audience if giving an entertainment. If 
he is a Democrat, don't try and induce him to talk on 
the Republican side first. 

After he gets interested in his subject, he will 



148 




PRACTICE INSTRUCTION 

HYRSOTISM 

AND SVGGESTIOTS 

HERDERXkFLBMT. 




continue for quite a while. I have often had a young 
man continue an address for eight or ten minutes. 
You can stop him in the midst of his talk by calling 
his attention to you and look him intently in the 
eyes, and pass your right hand in front of his face 
half a dozen times, and say to him--" Why, what is the 
matter with you? What are you talking about? You 
are not a Democrat. You are a Republican, and you came 
here to address this audience on the Republican Plat- 
form, and all the planks on that platform. There, 
start right ahead quick, talk to them sir. Thats 
right, go ahead and tell them all about your party. 
The grand old party," 

He will likely look at you in a dazed manner 
for a minute, perhaps argue the point, but after he 
has once started upon the last suggestion, he is more 
earnest, emphatic and forceible than ever, because 
with every different impression you give your subject 
(and getting him to change from one thing to another 
without awakening him from the preceding impression,) 
he loses his knowledge of his own identity and accepts 
each change more earnestly. The result, he becomes 
deeper and deeper under the impression of your sug— 



144 




PMCTICALlNSTRUCriON 




HYPNOTISM 

ANT> «VGGESTI02S 



HEKBERX L.FLUNJT 



gestions, especially if you have worked earnestly 
with him in inducing the changes. You will be sur- 
prised at the results you will obtain at the flow of 
language, the arguments, the wit, etc., etc. This 
test never fails to entertain all spectators. It is 
also a good thing for the training of your subject 
mentally. 

It may require a dozen suggestions of "Right, 
all right, wide awake, wake up, wide awake I say-- 
Wake up, wide awake," and the snapping of your fin- 
gers before he is thoroughly aroused from the con- 
dition induced and brought back to his normal state. 



HOW TO CHANGE THE INDENTITY OF YOUR SUBJECT. 

In making this effort upon your subject, pick 
the one who has readily responded to all the pre- 
ceding tests and especially one who has shown himself 
a deep subj ect . 

Have your subject seat himself, with his feet 
apart, his hands clasped, with all his muscles 
relaxed . 

Stand in front and to the right side of him. 
Now you must try and induce a state of deep sleep. 



145 



^ HYPlSOriSM * 

A?<D «VGGEST102S 

Herbert k Flint. 




Utilize "The Third Me thod , " go through the sugges- 
tions of sleep, etc. , but in place of trying to fasten 
his eyelids shut, just induce the condition of "deep 
sleep." After he is in the "Hypnotic sleep state" 
still keep clasping his right hand with your right 
hand, your left hand still resting on his head as per 
instructions in "Third Method;" give the following 
suggestions in a low, earnest voice: "When I tell 
you to open your eyes, you will find you have forgot- 
ten your name. You cannot think of your name. 
Your name is slipping away from you. You have for- 
gotten it completely. You cannot remember it. It is 
gone from you. Open your eyes and look at mine and 
don't take your eyes off of mine." While looking him 
intently in the eyes, say to him, "Now think of your 
name, if you can. You cannot remember it. You have 
forgotten it. Come, tell it to me, quickly!" A puz- 
zled expression should show itself on his face and when 
that expression shows signs of disappearing, repeat 
the suggestions more forcibly, until he has in 
reality forgotten his name. After the test has been 
completed, have him close his eyes and put him back 
into the "deep sleep state," then say to him, "I will 



146 




PfiACTKALlNSTRUCnON 



HYPNOTISM 

AND ^VGGESTIOIS 



Herbert h. Flint 




tell you your name ; when you open your eyes you will 
know your name. It is, Mary Jones! Mary Jones! 
Mary Jones!" Repeat it half a dozen times. The first 
time you say the name of "Mary Jones!" you can take 
your hand off of his head, 2nd gently touch his fore- 
head, over the right eye, when you say "Mary," and 
over his left eye when you say "Jones," Keep the 
touching up every time you say the name, "Mary 
Jones." Now take your hand away from his forehead 
and let it rest upon his right shoulder; tell him to 
open his eyes and tell you his name. Look intently 
into his eyes and say, "Why, Mary Jones, how are you? 
Your name is Mary Jones, is it not? Tell me your 
name. 'Mary Jones?' That's right; say it again and 
again, and now you cannot stop saying it. Try; you 
cannot stop saying your name." He will likely say 
his name is "Mary Jones" and keep on saying it until 
you tell him to stop, or direct his attention to 
some other line of thought, but he will likely hold 
the impression of being "Mary Jones" and act the 
character of the woman throughout the scene, until 
you remove the impression. Your subject will accept 
any other name as readily and will to a greater or 



147 





PRACriGYLlNSTRUCriON 

hypnotism 

AND «VGGEST102S 
By 

Herbert k Flint. 



less extent act the character. But for stage 
work w6 deepen the impression by dressing him up as 
a woman and have him "make up", etc. , thus the sub- 
ject will take on and act out all the conditions in 
detail, (pertaining to the character suggested.) 

You would get a better "baby scene" if you turn- 
ed the subject into "Mary Jones, the nurse girl" or 
"Mrs. Jones, the baby • s mamma , " in place of the baby's 
daddy. 

The usual method of awakening will bring the 
subject back, but you must attract his attention 
before snapping your fingers and saying "All right! 
rightl right you arel wake up 1 wide awake, I say! 
You are all right now! What is your name?" Whenever 
you have changed the identity of any subject always 
get them to tell you their name after being awakened, 
so you can see if they know their own name or not. 

In the following chapter I shall show you what 
I mean by a finished impression upon the mind of a 
subject, by showing you the difference between 
getting them to believe they are "Mary Jones" as per 
the instructions in this chapter, which is an 
unfinished impression. Most all professional oper- 



148 





^PRAaiOLlNSTRUaiON 

* HYPNOTISM 



AND «VGGESTI02S- 

HerbertI/. Flint. 



ators give the unfinished impression and so do 
amateur hypnotists, (in trying to induce the condi- 
tions too quickly,) therein is where our work has 
differed from every public performance and why we 
can, and do return to a city year after year. Because 
we try to induce a finished impression upon the minds 
of our subjects. 



MISS MARY JONES, THE ACTRESS--A FINISHED IMPRESSION. 

As in the preceding chapter, have your subject 
seated and go through all the work up to forgetting 
name. After your subject has forgotten his name, 
drop the position of your hands and let your left 
hand rest on the back of his neck, your right hand on 
his forehead, you standing at his right side. Hold 
his head in a gentle, but firm pressure, now continue 
your suggestions, bending over so you are almost 
speaking in his right ear. "You will find you are 
deep asleep and dreaming. You are dreaming of Miss 
Mary Jones, the actress, and you are dreaming of Miss 
Jones being in her dressing room, just ready to make 
up to go on the stage. You are dreaming of seeing 
the dressing room, all the dresses hung up around the 



149 




RA(TIC\LlNSTRUCriON 




HYPNOTISM 

jXKOO «VGGESTI02S 

Herbert h. Flint. 



wall, the dressing table and the beautiful clear 
mirror where Miss Jones can see herself. You are 
dreaming of seeing the things on her dressing table; 
there are hair pins, curling iron, comb and brush, 
powder, rouge, puff and everything for a lady's 
toilet. You are dreaming of seeing the gas lit along 
side of the mirror where she can heat her curling 
iron. Sleep, sleep, deep asleep, and continue to 
dream." Now let his head rest lightly on the back of 
the chair and place a table in front of him for the 
dressing table, have an old skirt handy and a shawl 
and hat with strings on it so it can be easily tied 
on his head. 

Now continue your suggestions, standing a little 
to the right and in front of him,with your left hand 
resting lightly on his right shoulder. "When I tell 
you to open your eyes, you will find you are Miss Mary 
Jones, the actress, and you have only a few minutes 
to finish making up. You can only dream and think of 
Miss Jones, the actress, that is your name. You are 
Miss Jones, the actress. You are the actress, Miss 
Jonesl Miss Jones! Miss Jones!" Repeat it half a 
dozen times, gently touching his forehead as per in- 



150 




structions in preceding chapter. Tell him to open 
his eyes and look at you. Now nod your head in an 
affirmative manner and shake the index finger of your 
right hand in front of his eyes, as you ask him, 
"Your name is Miss Jones, is it not? Why certainly, 
Miss Jones, the actress. Why, Miss Jones, how are 
you?" By this time your subject will unconsciously 
fall into shaking his head in an affirmative manner, 
then continue, "What is your name? Miss Jones, is 
it not?" When he replies yes, then tell him, "You 
are in your dressing room and have almost finished 
dressing. Look at the size of your room." Direct 
his attention to the size of the room by walking 
around a little square, having his eyes follow you. 
Show him the dressing table and the looking glass, 
as you draw the outline of the glass with your hand 
and run your hand up and down the surface of it, by 
saying, "Look at this dressing table. Look at this 
looking glass. You can see yourself in it. Look 
there, what a perfect reflection of yourself. Look 
at the gas jet, it is lighted." 

Now have your subject look at each article on 
the dressing table, as you apparently pick them up, 

151 




RACTKALlNSTRTICriaM 

HYPNOTISM 

A?<D «VGGESTIOiS 



Herbert k Flint. 




"This powder is flesh color. That rouge is 
pretty red, you don't want to use too much of it. 
This is a swell brush, and this comb is just the 
thing to go through that long hair of yours. This 
curling iron gets hot very quickly, be careful and 
don't burn your hair with it." 

Now call his attention to the dresses hanging 
around the room, then in particular to the dress he 
is going to wear, by holding up the skirt, shawl and 
hat; tell him they are the latest fashion, etc., etc. 
Now say to him, "I am your waiting maid and will as- 
sist you in dressing. Stand up and let me help you 
on with this skirt." When he stands up put the skirt 
on over his head and tie it around the waist. Then 
put the shawl over his shoulders, and as you again 
direct his attention to the articles on the table, 
say to him, "Before putting on your hat you want to 
give a few finishing touches to your toilet." Have 
him sit down again, then hand him the comb and say to 
him, "Take down your long hair and put the hair pins 
with the others," showing him the supposed hair pins. 
Then tell him, "Go right ahead and fix up, I will be 
back in a minute." He will, if married, give a per- 



162 




PRACriC\LlN5TRU(TI0M 




HYPNOTISM 

AND «VGGESTI02S 

Herbert k Flint. 



feet act of a woman putting on the finishing touches 
to Miss Jones' toilet, and each thing he does will 
further enhance the value of the suggestion in mak- 
ing a deeper impression on his mind of being Miss 
Jones, the actress. His voice will often change 
into a high pitch like a woman's. 

After the act is finished, the hat on, you can 
tell him "Miss Jones, a gentleman would like to meet 
you, he is greatly smitten with you." You can lead 
him to any one of the spectators and introduce him as 
Miss Jones and he will carry out the character of a 
woman to perfection, or lead him towards two chairs 
placed side by side, and show him an imaginary man and 
he will carry on a conversation wi th him, you to act 
the man's part by saying, he says so and so. The 
walk of the woman will be assumed, the mimicing ways 
also. Your subject will carry that impression for 
several hours, and often grow deeper and deeper under 
the impression, the longer he is left in the scene. 
This is what I call a finished impression. By acces- 
sories the hallucination is helped to become more 
perfect, and everything in detail is done by the op- 
erator to assist the mind of th© subject in grasping 



153 



^ 




MCTIC\LlNS™J01w73t} 



HYPNOTISM 




A^D «VGGESTIO]S 

Herbert h. Flint. 



in detail the character suggested. In all hallucina- 
tions intended to be produced, the operator should 
give as finished an impression as possible. 

The usual suggestion of "All right you are! All 
rightl Wake up I Wide awakel Wake up, I sayl Come, 
wake upl Wake up!" and the snapping of your fingers 
will bring your subject back to his normal state. 
Gain his attention first and when awakened, see he 
is all right. Ask him his name. 



TO MY PUPILS. 

From chapter VIII to XLIV, I have outlined more 
than enough work for my pupils to study the physical 
and mental phenomena of hypnotism and enable them to 
become practical operators. I have been very ex- 
plicit about the awakening process, giving the for- 
mula after every test. Too little attention is paid 
to this part of the work by most writers on this sub- 
ject. Get in the habit of seeing your subject is 
always thoroughly aroused from the cond it ion . in- 
duced. In fact the utmost care should be taken to 
thoroughly remove every impression before attempt- 
ing another, and do not undertake to make the change 



164 




RACTICALlNSTRUCTION 




HYPNOTISM 

AND ^SVGGESTIOiS 



Herbert h. Flint, 



too quickly from one scene to another, and always 
give your subjects the suggestions when through with 
them, "Now you are feeling all right, wide awake and 
refreshed," etc. , etc. 



POST HYPNOTIC SUGGESTIONS. 

A post hypnotic suggestion is a suggestion im- 
parted to a subject during hypnosis, but the acts 
your subject is ordered to carry out are to take 
place after hypnosis, and after he is thoroughly 
awakened. This is a part of hypnotic work which is 
of much importance in medicine and its possibilities 
are well nigh limitless. 

In giving your subject a post hypnotic sugges- 
tion, choose one who has proved a good mental sub- 
ject; have him seat himself in an easy chair with his 
feet crossed at the ankle; let him interlock his fin- 
gers and let his hands rest on the top of his head. 
Stand in front of him, a few feet away, and slightly 
bending forward, look your subject directly in the 
eyes and proceed to give suggestions as follows: 
"Look into my eyes and do not take your eyes off mine. 
Now you want to go to sleep. You desire to go to 



165 




RACriCVLlNSTRUCTION 



HYPISOTISM 

JWH «VGGESTIOiS 
ay 

Herbert k Flint. 




sleep and when you do go to sleep you will hear my 
voice and remember everything I say to you. Now 
think of sleep, sleep, sleep, deep asleep, fast 
asleep. Think of going fast asleep. " Now lean for- 
ward and gently take hold of his elbows, your right 
hand grasping his left elbow, your left hand grasping 
his right elbow, and bend forward until your face 
is within two feet of his, then gaze as intently as 
possible into his eyes. Let your voice be low, but 
firm, and continue your suggestions, "You want to go 
to sleep. You are going to sleep and going deep r 
asleep. " Now have him inhale deeply two or three 
times and continue, "Your eyes are getting tired, 
you are going to sleep. You cannot hold your eyes 
open. You must go to sleep. Sleep! Sleep! Deep 
asleep! Go to sleep." By this time his eyelids ou[ ht 
to quiver and close and he ought to be falling asleep. 
Keep up a line of suggestions until you have your 
subject in the deep hypnotic sleep. Remember no m t- 
ter how deep asleep your subject apparently is, he 
can always hear your voice. 

After you have him in the deep sleep, take your 
hands off his elbows, and move around behind him and 



156 




HYPNOTISM ^ 




IN 

1 MUST! 
AND SVGGESTIO^ 

Herbert h. Flint. 



let your right thumb rest on his right temple, and 
your left thumb rest on his left temple, your fingers 
resting on the nap of his neck and gently bend his 
head a little backwards. Do not disturb the position 
of his hands on his head. Now lean over so that you 
can speak very low and he will hear it. Now continue 
your suggestions, "You are fast asleep and you are 
dreaming, dreaming, dreaming." Be very earnest in 
what you say, mean it, believe it, and have your mind 
concentrated upon what you wish your subject to do. 
Feel he must obey. This is where the dictatorial 
process of hypnotism comes into play. It is a case 
of "I will. You must. " 

Now you can start in and give him the sugges- 
tions, OF WHAT YOU WISH HIM TO DO. Repeat each sen- 
tence several times. Say to him, for instance, "You 
are dreaming of the fact you want to come and see me 
at my house tomorrow at five o'clock." Repeat the 
sentence three or four times. Then continue, "You 
are dreaming of the pleasure it will give you to call 
upon me tomorrow at five o'clock. You are dreaming 
of the fact, when awake you will have the desire to 
calluponme tomorrow at five o'clock and you will 



167 




1 

WILL! 



c^Prao 



RACTICALlNSTRUaiOlS/ 

HYPNOTISM 

AND «VGGESTI02S 

Herbert k Flint. 




act upon that desire. " Repeat the suggestions over 
and over again. Your subject will act upon the sug- 
gestions, nine times out of ten. 

I have used post hypnotic suggestions quite a 
great deal , especially in inducing my subjects to 
come back upon the stage for me night after night, 
and I have found the suggestions of "You are dreaming 
so and so" will produce better results than to say 
"You will do" or "You must do so and so." You can use 
a line of suggestions to suit yourself. The same re- 
sult will be obtained. 

Now comes the question, Is your subject in a 
normal state or a hypnotic state while carrying out . 
post hypnotic suggestion? It is a question that hat 
led to some lively discussions among the writers of 
this science. My opinion is that at the time the 
subject acts to the post hypnotic suggestion, he is 
automatically, so to speak, again placed in a hyp- 
notic state, for the length of time it requires to 
perform the act suggested. 1 In fact the posthypnotic 
suggestion in its action becomes what you might term 
an Auto- Suggestion. 

The usual suggestions of "Right I All right! 



168 




PMaKALlNSTRUCriON^: 

IN \C Y0U 

hyfisotism ^ Masn 

ANT> «VGGESTIOTS 



Herbert k Flint. 



tfida awake 1 Wake uo! Wake up I say!" and the snapping 
of your fingers will brine your subject, back from 
dream-land. 



FOR THE SALESMAN. 

The secret of success in the art of selling 
r-eds, and in any business is your ability to give 
-csitive and impressive suggestions without arousing 
antagonism in the mind of your prospective purchaser. 

The practise you have had in testing your sub- 
jects as per instructions in former lessons will ma- 
terially aid you in being able to give the sugges- 
tions required. In trying to sell any article to 
£ ny person never ask him if he wants to buy it, al- 
ways give the suggestions as follows: "You want that, 
(naming the article) don't you?" Put your emphasis 
upon the first part of the question. Make of your 
question what a lawyer would call a leading question. 

Never say, "Do you want to buy this?" Try to force 

i 
the answer in the affirmative before you ask him "If 

he wants it. " During the tips ycu are in the pres- 
ence of your customer, always ke°p yourself in a pos- 
itive state, both m a mental and p.i ysical way. 



159 




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ractical Instruction 




HYPNOTISM 

AND SVGGESTIOM 
By 

HERBERT kFLEN[T. 



Never sit down in a relaxed condition, because if 
you do, your mind will unconsciously take on the con- 
ditions of your muscular system. Always look your 
customer directly in the eyes with an earnest, inter- 
ested expression. Don't try to outstare him. During 
the entire time you are talking to your man, use 
every bit of will power you have got in feeling the 
impressions, He wants to buy. He will buy. He must 
buy. Keep at all times before you the suggestions, 
I will! You must! Have faith in yourself. Believe 
that you are just as good as any man living and in 
fact, a little better. Believe your time is just as 
valuable as any man's and especially as valuable as 
your customer's. Force yourself to believe that your 
goods are better than your competitors'. Never have 
a doubt as to the ultimate outcome of your selling 
him a bill of goods. After having talked upon the 
merits of a certain line of goods, the suggestion 
from you to him, as you have your order book out and 
pencil in hand, "How many did you say?" If you have 
an idea of about how many he ought to have, then 
force the question as follows: "How many did you say? 
Five dozen? etc., etc." Then take up another article. 



160 




PbactiolInstruciioN 




HYPNOTISM 



.AND 5VGGESTIOIS 

Herbert k Flemt. 



Keep his mind upon one article at a time. Finish 
each order for each article before taking up another 
line. Do not try to sell your man in his store; there 
are likely to be too many interruptions, which will 
draw his mind away from your suggestions and you will 
have to start all over again. Get him alone in your 
room at the hotel; the chances are two to one in 
favor of selling him a big bill of goods there. If 
you have to sell a man in his store, and should find 
him busy, call again, call half a dozen times or un- 
til you find him at leisure and ready to give you his 
undivided attention. Never be in too great a hurry, 
take your time, let every suggestion have a chance to 
impress itself upon his mind. 



HOW TO AWAKEN A SUBJECT WHO HAS BEEN HYPNOTIZED BY 

ANOTHER. 
As a rule, a person who has been hypnotized by 
another operator can be awakened by the process you 
generally use; just as though you had brought about 
the cond i t i ons yourself. If he should not respond 
to the awakening process, then go through the pro- 
cess of hypnotizing him as in the methods ,-- Is t , 2nd 



161 




RACTICYLlNSTRUCriGM 




HYPNOTISM 



J\NT> «VGGESTIOiN 

Hejrderx k Flint. 

fc, and 3rd. Use about tenor fifteen minutes time. 

Then test him to see if he will respond to your sug- 
gestions readily. Tell him to open his eyes and look 
at you. Then to close his eyes again. Repeat this 
test several times. Then tell him ,-- "You want to go 
to sleep, you will go to sleep, you must go to sleep. 
Now think of going to sleep. Sleepy, sleepy, sleep, 
deep asleep. You will find as you are sleeping, you 
are dreaming of the desire of awakening. You want 
to awaken, you are waking up, all right, wide awake." 

Be confident in your suggestions, do not speak 
too loud. Be intense and mean what you say. In nine 
times out of ten, you will be able to bring him back 
to his normal condition. You can follow, if you like, 
the latter part of the process of "How to awaken 
your subjects." 



THE INSTANTANEOUS METHOD. 

Many people who are teaching hypnotism profess 
to teach an "Instantaneous Method," whereby you may 
hypnotize any person "quick as a flash of lightning. 
It cannot be done in the sense of which they wish to 
imply. In all the years of experience I have had, 

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PRACTICALlNSTRUCriON 




HYPNOTISM 



AND «VGGESTI02S 

Herbert*!/. Flint. 



testing on an average 5,000 people a year, I have 
failed to discover any such method. If such a "sure" 
method could be taught, I would be willing to give 
every dollar I am worth, and one-half of my profits 
for the next five years, to know how. 

I have often done so during one of my enter- 
tainments. The reason, the persons gazing at the 
work I was doing and hearing the suggestions I was 
giving to my subjects have thereby had their minds 
centered upon the work and a condition of self hyp- 
nosis was induced, the man unconsciously accepting 
my suggestions along with my subjects; and a quick, 
sharp, earnest suggestion on my part would cause 
them to leave their seats and enter into the scene 
along with the rest of my subjects. 

In "The Balloon Scene" and the "Base Ball 
Scene," I have of ten brought in from two to four out- 
siders whom I never saw before until that minute. I 
simply added to the impression they had already un- 
consciously accepted by my suggestions along the 
line they were thinking of. You will often find 
while you are testing your subjects in a room full of 
company, many will unconsciously follow the sugges- 



163 




RACTIC\LlNSTRUCTION 

HYPisbrisM 

A7STD SVGGESTI02S 



Herbert k Flint. 




tions you are giving your subjects. You can turn to 
them, and in an instant carry out the scene with 
them; though in testing them afterwards by the first 
method, you will often find they may not respond to 
your suggestions. 

This is the only way whereby "instantaneous" 
hypnosis may be induced upon any person who has never 
been developed into a subject. 



VOICE. 

You must cultivate an even, low, smooth and 
pleasing tone of voice. Your suggestions should be 
spoken in a positive, earnest and, as a rule, low 
tone. Your tone of voice is quite as important in 
trying to induce hypnosis as the line of suggestions 
you use. Practice a line of suggestions on a number 
of your friends, having them listen with their eyes 
closed and let them tell you what tone of voice af- 
fects them most. You should pitch your voice low, 
rather than high. There is no force or power in a 
high pitched voice. Try to speak with force and 
effect in as nearly normal tones as possible. Let 
your art i culat ion be of the clearest and best; speak 



164 




pleasingly. Be natural ; do not try to imitate the 
tones of others. To bring about hypnotic results, 
you must be natural and fully sincere, and every ef- 
fort will demand your earnest and complete sincerity. 
It is by your positive, earnest and absolute over- 
whelming sincerity in suggestion that you overcome 
your subjects; with them to be convinced is to be 
overcome. While you are practicing sincerity in 
tone and manner, recall the voices of those who moved 
you most. Study the voice of the earnest and forcible 
speaker on the platform, in the pulpit, before the 
bar or in private life. Study the earnest, sincere 
and pleasing voice of the successful merchant and 
expert salesman. You can learn of these. 



A HYPNOTIST'S EYES. 



You must cultivate the art of looking long and 
steadily into the eyes of your subject without a 
change of facial expression. You must do it; there 
is more in a look than you realize. You can culti- 
vate your eyes so you can use them to suggest with. 
A change of expression , a turn of your eyes while 
trying to impress a suggestion on a subject will turn 

166 




PRACriGVLlNSTRUCriON 




HYPNOTISM 

AND «VGGESTIO]S 

Herbert k Flint. 



his attention from what you say to the hidden mean- 
ing of the look which has flitted across your face. 
A good subject is, as a rule, very sensitive. 

Do not smile, be earnest; try and cultivate an 
expression of seriousness; a careless use of the 
eyes will prove a handicap to you. You must culti- 
vate a firm, steady, though not rude gaze. What can 
you or any person do with a restless, roving, blink- 
ing and shrinking eye? 

In studying the use of your eyes, I want you to 
look steadily and earnestly into the eyes of all with 
whom you speak. Look your friends in the eyes while 
passing. When you meet a person with a hand shake, 
look directly into his eyes. Don't forget , look into 
the eyes. There is quite a difference between a 
passing glance, in which you just notice the expres- 
sion or the color of the eyes, and looking direct into 
the eyes of a person. So always look into the eyes. 
You must cultivate this look and make it a habit; 
outside of assisting you in produc ing hypnosis , it is 
of practical use in every day life. As you practice 
this, notice the effect you have upon your friends 
and others you meet, and also the feeling of power it 






166 



PRA(TIC\LlNSTRUaiO]S[ 



HYPNOTISM 





AND «VGGESTI02N 

Herbert!/. Flint. 



gives to you. You will soon learn to sober any face by 
a glance. This power of the eye, every person ought 
to cultivate who wishes to make a success of hypno- 
tism, and in fact you must possess it. Don't forget 
your eyes assist you in making your suggestions. 
The eye of the hypnotist is an instrument with which 
he may warn, threaten, command or rebuke. The chief 
charm of many a plain face is the eye. A good eye, 
thoroughly under the command of the hypnotist, will 
help to beautify the homeliest face and you can charm 
every one with whom you have to do; so cultivate the 
use of your eyes. 

A FEW PRACTICAL SUGGESTIONS. 
Be careful in working a subject into a mental 
scene and do not say, "When I awaken you;" almost 
every beginner unconsciously falls into this habit. 
Always say "Now when I tell you to open your eyes," 
because if you say to him "When I awaken you" your 
subject may accept the suggestion and awaken; but the 
suggestion "When I tell you to open your eyes," 
leaves your subject in the condition you have induced 
when he does open his eyes at your command, and ready 
to receive and act upon your suggestions. 



16' 



WIT I 




<^PRACTI(ALlNSTRUaiO]Sf 



. ^ 



HYPNOTISM 

AND «VGGESTIOiS 

Herbert h. Flint. 




You will find a tendency to increased refinement 
in your subject when in a hypnotized state, even the 
most depraved being elevated in sentiment; and I have 
often had upon the stage many young men who, in their 
normal state, rip in an oath or two in every few sen- 
tences they utter, yet no matter how coarse their 
usual language, they seldom, if ever, utter an oath 
while hypnotized. Many women who seemed to have be- 
come lost to all shame in their normal state, when in 
a hypnotized state have refused to accept a sugges- 
tion or allow an immodest action. 



Your suggestions will vary with the experiment 
you try to induce. Always remember the first step 
is to secure the attention of your subject by having 
him gaze into your eyes before commencing any test. 
Get into the habit of doing this. 



You will find in the experiments I have out- 
lined, I continually say "Feel the conditions ; " and 
every effort should be made on your part to exper- 
ience the same sensations you are trying to induce 
your subject to accept. If you cannot feel the con- 
ditions, then try and manifest an outward appearanc 



168 




^ HYPNOTISM 

AND «VGGESTI02S 

HEKDERTk Flint. 



at least of experiencing the sensations. Imitation 
is a great factor in a good subject's make-up. 




Understand hypnosis does not work miracles. It 
does, though, intensify the natural powers of a sub- 
ject, according to the principles I have laid down. 



I found many subjects whom I have repeatedly 
used have finally attained such a power of self- 
hypnosis, that I had to discontinue using them. 
They became what is termed "independent sensitives," 
and became valueless to experiment with. 



Do not forget that the expected always takes 
place, to you and to your subject. 



You will find your regular subjects will uncon 
sciously copy your actions, attitudes, etc. 



After your subjects have been repeatedly hypno 
tized and put into the sleep state, they acquire a 
craving for it. 



You will find from practical experience the be- 
lief by so many that only weak minded individuals 
are alone, or especially susceptible to hypnotic in- 



169 




McrmlNSTRucnoN 



HYPNOTISM 

ANX> «VGGESTIOiN 

Herbert k Flint. 




fluence, not to be well founded. You may manage to 
bring such under control, but they will prove unsat- 
isfactory as subjects. They will not be able to hold 
an impression and let it grow on them. 



Moral defects in character in most cases are 
amendable to suggestion, especially post hypnotic 
suggestion. 



You will find it much easier to induce your sub- 
ject to believe an object is something else than what 
i t really is, --like showing your subject a man and 
telling your subject it is a pretty girl. I can 
make a subject believe a green baize is a strawberry 
patch much readier than I could show him a cow upon 
tie stage. You must always remember this, especially 
in trying to induce illusions with subjects who are 
not in a deep state. 



As a general thing my subjects feel much strong- 
er and refreshed after an evening ' s per formance , than 
before they came upon the stage. 



You will find you can rarely hypnotize a person 
who has a low, retreating forehead, with a bullet- 



170 




MCTIOLlNSTRUCnaM 




HYPNOTISM 



A2N03 «VGGESTI02S 

Herbert \ Flint. 



shaped head, widest between the ears, and little deep 
set foxy eyes, especially if they have what is called 
the organ of self-esteem largely developed. A person 
who has a brutal nature is never a good subject. 



The first sense that is effected in your sub- 
ject is the sense of feeling; the next taste; then 
smell, then sight; hearing is the hardest. It is 
easier to get your subject to feel sticky molasses- 
on his hands than it is to get him to taste that 
molasses, and easier to get him to taste it than it is 
to get him to smell it, and much easier to get him to 
smell it than to get him to see it on his hands. 



Women are in no more danger from a hypnotist 
than from any other man in possession of strong per- 
sonal magnetism; in fact not as much, as his art can- 
not be practiced in secret. His ability is known to 
others, and you will find him a man possessed of in- 
telligence enough to realize his actions and 
motives; his surroundings are closely watched. This 
fact alone would compel himto exercise his powers 
for the benefit of his fellow men and not for the 
benefit of his personal gratification. 

171 




"know how" of putting a suggestion, 
and a knowledge of when to make it, that gives one 
person power over another. You will find as you be 
come well versed in suggestion, a subject will fall 
asleep or otherwise obey a command; while one timid 
and ignorant of his power, even though giving the 
same suggestions, will produce no result whatever. 



It is the neglect and abuse of this power that 
is to be condemned, not its use; for we all employ it 
whether we know it or not. You can never put an end 
to hypnotic influence until man passes away, so why 
not (my dear pupil) possess the knowledge of the power 
within you? 



Don't forget and try to hurry too much when 
testing your subject for the first few times; give 
him plenty of time to grasp the suggestions. Con- 
tinually repeat your suggestions. By watching your 
subject closely you can usually tell what sugges- 
tions are taking effect and what tone of voice is 
affecting him. 



The hypnotist must be firm without being noisy; 
this will also apply to all classes and conditions of 

172 





PRACriC\LlNSTRU(TION 

HYPISOTISM 

ANT> «VGGESTIOM 

Herbert k Flint- 



men. Noise and bluster are as a rule indicative of 

weakness . 



You must not forget with those you continually 
hypnotize, that your own thoughts, your mental state, 
your hopes or fears, your confidence, your dread, 
your sweetness or your hatred will be reproduced to 
a greater or less extent. Unconscious acceptance of 
those conditions will always take wlace. "Like Mas- 
ter, like man" becomes a fact with the hypnotist and 
his subject . 



MY FINAL SUGGESTION. 
As you study and experiment with the knowledge 
I have tried to impart to you, it will make you real- 
ize the fact that suggestion sways and rules the 
world. It is as old as God. It is without beginning 
or end. It is stronger than environment, for envi- 
ronment is both its child'and its servant. It is far 
mightier than heredity for the traits of heredity 
are simply its products. It rules and controls by 
the cradle of childhood, and always dictates terms 
to manhood and womanhood near and afar off. Its 
potency is never lost. It is life-giving: it is 
death sending. 

173 




PfiACTICALlNSTRlJCnON 




HYPNOTISM 



ANI> «VGGESTI02S 

5y 

Herbert h. Flint. 



VOCABULARY OF SCIENTIFIC TERMS USED IN THIS VOLUME 
AND OTHER WORKS ON THE SUBJECT OF HYPNOTISM. 



Abalienat ion--Physical or mental decay. 

Abiosis- -Death. 

Ableps ia— Blindness -want of sight. 

Abnormal— Contrary to the natural law or customary 
order . 

Acardiohemia--A lack of blood in the heart. 

Acatamathesia— (1) A morbid blunting of the percep- 
tions. (2) Inability to comprehend speech. 

Acataphasia—Inabili ty to utter a complete sentence. 

Accentuation— Increased distinctness. 

Acesia-Reco very ; cure. 

Acri tochromacy-. Color blindness. 

Acroanes thes ia-Anes thes ia of the extremities. 

Acr omania-Incurable insanity. 

Acrophobia - -A morbid dread of heights. 

Acrot ism--An absence or weakness of the pulse. 

Adynamia— A deficiency or loss of vital power. 

Af ter-images-Continued retinal sensations after with- 
drawal of the object. 

After-sensation— A sensation lasting longer than the 

stimulus . 

Agnea— A loss of perceptive power, from disease. 

Agoraphobia- -A morbid dread of crossing open spaces. 

Agraphia--A nervous loss of power of expressing ideas 
in writing. 

Algesia - -Extreme sensitiveness to pain. 

Alieni sm--The science of mental disorders. 

Allopathy--01d style medicine, based on the use of 

remedies producing symptoms opposed to those of 





RACTICALlNSTRUCTIOlS/ 

HYPNOTISM 

AND SVGGESTIOiS 

HEJRDEKr'k Flint. 



the disease . 

Alusia-Hallucinat ion ; Mental misconception. 

Ambiopia- - Vi s ion with both eyes. 

Amnes ia - - Loss of memory, such as occurs generally on 
awaking from hypnotic sleep, when the subject 
remembers nothing said or done by him or to him 
during hypnos i s. 

Anaemia. -Po ver t y or deficiency of blood, causing gen- 
eral weakness of the system. 

Anaesthesia or Anas thes ia- Diminu t i on or loss of the 
physical sense of feeling. 

Analgesia—Insensibility to physical pain. 

Anamnestic -Recalling to mind; remembering. 

Anar thr ia--An inability to articulate distinctly; 
stammering . 

Anatomy--(l) The structure of an organized body. (2) 
The science or art of di ssec t i on . 

Andranana toiry -- Human dissection. 

Andrology - -The science of man. 

Anthropology-- " " " 

Aperient--A gentle, purgative medicine. 

Aphonia-Loss of voice. 

Apoplexy— Los ? of consciousness due to rupture of a 
blood vessel in the brain; or some other cere- 
bral shock. 

Appercep t i on - - The conscious reception of a sensory 
impression. 

Aprosexia-An inability to fix the attention. 

Apsychia— A loss of consciousness. 

Arhy thmia--An irregularity of the heart's action. 

Asemasia--Inabili t y to express by words or signs. 

Asemia--An inability to comprehend by words or signs. 

Ataxia, Locomo t or- - Inabi 1 i ty to command over one's 
movements; more particularly over the movement 



II 





WILL! 



HYPNOTISM 

AND «VGGESTI02S 

Herbert L. Flint. 






of the legs, due to brain or spinal disorder. 

Auto-Hypnosis-- Hypnotic state induced spontaneously, 
especially in people who have been frequently 
hypnotized by others. 

Automati sm- - Th>> state of the hypnotic subject who 
obeys suggestion. 

Automat ism-- A condition in which actions are per- 
formed without consciousness or intention. 

Autosuggestion -- Suggest ion self-induced withcut > 
external influence. 

Avascularize - - To render bloodless. 

Balbuties--Stammering ; imperfect pronunciation. 

Balneology--The science of baths and bathing. 

Balneotherapy-- The treatment of disease by baths; 
water cure. 

Baryecoia--Dullness of hearing; deafness. 

Barylal ia--Thickness of speech. 

Basophobia-- Inabil i ty to walk or stand erect. 

Bathophobia - - A morbid fear of great heights. 

Biodynamics - - The science of the vital forces. 

Biology--The science of life and living things. 

Bionomy--The science of the laws of life. 

Biostat ics- - The physics and mechanics of living 
bodies. 

Biot ic - -Per taining to life; vital. 

Biotics--The science of vital functions and manifes- 
tations. 

Bi sferious --Having two beats. 

Blinking--An involuntary winking. 

Braidism- -First name given to hypnotism; from Dr. 
James Braid. 

Cac es thesia-- A morbid sensation. 

Cacophonia-An altered state of the voice. 



Ill 




Cacothymia--A disordered state of the mind. 

Cadaver. -The dead body; a corpse. 

Cadaverous-Resembling a dead body. 

Caldarium--A hot bath. 

Cali s thenics--A system of light gymnastics. 

Callosity--A hardened spot on the skin. 

Cardioinhibi tor y--Cont rolling the heart's action. 

Cardiology--The science of the heart. 

Carnivorous-Flesh-eating. 

Carot ic--Producing sleep or stupor. 

Carotid--The principal artery of the neck. 

Carus--The last degree of come; aomplete insensibil- 
ity. 

Cardi ograph--An instrument devised to note automati- 
cally by curve on a sheet of paper, the move- 
ments of the heart. 

Catalepsy--A neurosis associated with loss of will 
and muscular rigidity, without alteration of 
the circulation --a stage which can be induced in 
hypnotic subjects. 

Cataphasia - - A disturbance of speech in which there is 
a constant repetition of the same word or words. 

Cathode- -The negative pole of an electric current. 

Cenesthesia- - Hysteric loss of consciousness of 
ident i ty . 

Cephalology - - The science of cranial measurements. 

Cerebral- - Relating to the brain. 

Cerebrology -The science of the brain. 

Cheirospasm - - Wr i ter s • cramp. 

Chemistry- -The science of the molecular and atomic 
structure of bodies. 

Chorea--The St. Vitus dance, a peculiar nervous trouble, 

Chromophose - - A sub jec tive sensation of color. 



IV 



PMCTIOLlNSTRUCnON 

HYPISOTISM 





Herbert k. Fllnt. 



Chronic --Long continued; the reverse of acute. 

Cicatr ix - -The scar or mark of a wound. 

Circumpolari zat ion— The rotation of a ray of polar- 
ized light, as shown in hypnotizing by the 
Luy ' s mirror . 

Clairvoyance.-A supposed mesmeric state of mind or 
body (or both) that allows the subject to see 
through opaque objects, through space, through 
time past and present. 

Clinic - -Bedside instruction. 

Coma-An abnormally deep sleep; stupor. 

Cornea— The transparent interior part of the eyeball 

Consciousness - -The state of being aware of the na- 
ture of one's physical, mental and moral doings 

Consciousness, Double—A condition in which the sub- 
ject seems to be divided into two beings, one 
under the suggestive influence of the operator 
the other in full possession of personal will. 

Contraction, or Contrac ture- - A permanent or tempor- 
ary shortening of a muscle. 

Credivi ty-Excessive credulity developed in the sub- 
ject through hypnosis. 

Cutaneous— Pertaining to, or affecting the skin. 

Cuticle— The epidermis or scorf skin. 

Darwi:iism--The theory of desoent by evolution. 

Dehypnot i zat ion--The process of awakening the sub- 
ject from any of the hypnotic states. 

Delirium- -Mental abberration due to disease. 

Delusion--A false judgment of objective things. 

Deontology - -The science of duty; ethics. 

Dermenchysi s--Hypodermip injection. 

Diagnose, To— To determine the symptoms of any physi 
cal or mental state. 

Diencephalon--The brain or middle brain. 




PrmtigvlInstruoion 



HYETSOTISM 

A>TO SVGGESTIO^ 



Herder! h. Flint. 




Dipsomania--An uncontrollable desire for spirituous 
liquors . 

Dynamia--Vi tal strength or energy. 

Dynamics -The science of moving force. 

Dysbulia-- The impairment of will power. 

Dysecoia- -Subnormal acuteness of hearing, 

Dyslogia--An inability to reason. 

Dysmimic--An inability to imitate. 

Dysphemia --Stammering. 

Echokinesia--Spasmodic imitation of gestures. 

Echolalia--The automatic repetition by a subject of 
words uttered within his hearing. 

Eclectic—Choosing ; selecting; a certain class of 
physicians . 

Ecstasy--A trance-like, exalted state. 

Electrostatics --The science of static electricity. 

Energy--The power or force of the organism. 

Epidermis - -The outer layer of the skin. 

Epilepsy--A nervous disease with loss of conscious- 
ness and tonic and clonic convulsions. 

Erotoc ism--A morbid exaggeration of love. 

Erotomania -- Insanity from sexual passion. 

Ero topathy--Per verted sexual instinct. 

Ethnology -- The science of the races of man. 

Exteriorization- -A mental process by which a mere 

idea is transformed into a hallucination of the 
object thought of. 

Faradi zation- - The stimulation of a nerve by induced 
electrical current. 

Fascination- - An intermediate hypnotic state, between 
the cataleptic and the somnambulistic stage, 
partaking of the character is tics of both. 

Flint Disease- - Chalicosis. 



VI 




PMCTICALlNSTRUaiON 

HYPlSGnSM 

AND «VGGESTI02S 

Herbert h. Flint. 




Force--That which produces or arrests motion. 

Galvanism—A form of electricity induced by chemic 
reac tion. 

Graphospasm- -Writers ' cramp. 

Gymnast icL— Systematic bodily exercise. 

Hemorrhage - -A flow of blood from blood-vessels. 

Hallucinat ion-A belief in an unreality; the illusory 
perception of some external thing or happening 
that does not exist or take place at the time. 

Hasheesh-An intoxicating preparation from Indian 

hemp, which, either smoked or drunk in an infu- 
sion gives curious dreams or hallucinations. 

Hemi -Anaesthesia .- Anaes thesia (which see) extending 
only over one side of the body. 

Hemi-Hypnosi s --Hypnosis (which see) extending only 
over one side of the body. 

Hemiplegia- Paralysis affecting only one side of the 

body . 

Hibernat ion- - The faculty or habit of certain animals 
to pass the cold season in a state of torpidity 
and absolute immobility, akin to lethargy. 

nomoepathy -- A medical system in which the remedies 
used -in very minute doses -are said to produce 
effects similar to the symptoms of the diseases 
under treatment # Opposed to Allopathy. 

Hyperamia- - Excess of blood. 

Hyperaesthesia--A morbidly excessive sensibility; 
opposed to Anaesthesia. 

Hyperexc i tabili ty--An abnormal degree of excitabil- 
ity, or excitability produced by the slightest 
cause. 

Hypermnesia- -Extremely precise memory. 

Hypnos i s- -The peculiar mental and physical state 

produced by hypnotism; both words, however, are 
used one for the other. 

Hypnogenic Zones--The points on the body which, being 



VII 




pressed, are known to help induce hypnosis. 

Hypnoscope- - An instrument to test the degree of 
hypnotizability. 

Hypnot ism--The ensemble of the methods by which hyp- 
nosis is obtained; also used in the meaning of 
hypnosis; also this particular branch of the 
study of psycho physiology. 

Hypnoti zation--The act of inducing hypnosis. 

Hypnot i zability-- The susceptibility of certain per- 
sons to hypnotic influence. 

Hypnotist, Hypno ti zer --The operator in the induction 
of hypnosi s . 

Hysteria--A functional neurosis with abnormal sensa- 
tions, emotions or paroxysms. 

Hystero-Epilepsy .-A form of epilepsy that includes 
many features of hysteria. 

Hys terocatalepsy- -Hysteria associated with catalepsy. 

lama tology -- The science of remedies. 

Iateria-- Therapeutics. 

IatraMptics — Treatment by friction and ointment. 

Iatrochemis try— Therapeutic chemistry. 

IatVo technics- -The art of healing. 

Ideation--The process of forming ideas. 

Ideophrenia- -Insanity with marked perversion of ideas. 

Idiocy--A condition of extreme mental deficiency. 

Idiosyncrasy--Individual peculiarity. 

Idiot--A person with defective mental development. 

Illusion--A false perception of an external object. 

Image--A picture of an object to the eye and mind. 

Imagination- -The picture making power of the mind. 

Imbecile --Feeble in mind. 

Immedicable --Incurable. 

Index--The first finger. 



VIII 





BACTIttLlNSTRUCTION 

HYFISOTISM 

ANT) «VGGESTI02S 



Herbert h. Flint 



Inhibition— A restraint or interference in the exer- 
cise of the free will of the subject, due to 
suggestion, forbidding him to do certain things. 

Inner vat i on- -A discharge of nervous force; the 
function of the nervous system. 

Insane - -Diseased in mind. Crazy. 

Insensible - -Wi thout the sense of feeling. 

Insomnia-Inability to sleep. 

Insusceptibility -Immunity; a want of susceptibility. 

Intellect — The mind or the reasoning power. 

Intensity--A high degree of power or activity. 

Invalid--One who is not well. 

Involuntary -- Independent of the will. 

Jugu lat ion -- The swift arrest of disease by thera- 
peut i cs . 

Jumping Disease --Neurosis marked by jumping move- 
ments . 

Jurisprudence, Medical--The interrelations of legal 
and medical science. 

Kathode- -The nega t i ve "pole of a galvanic battery. 

Kinemat i cs - - The science of moving bodies. 

Kinesipathy - -The gymnastic treatment of disease. 

Klept cmania- -A morbid desire to steal. ( 

Kneippism-Trea tment of disease by walking barefooted 
in the morning dew. 

Labiomancy —The faculty of comprehending speech by 
ooservation of the lips. 

Laboratory-- A place for experimental work. 

Lagophthalmus - - An inability to close the eyes. 

Lethargy--A condition of drowsiness. 

Life--The power by which an organism exists and exer- 
cises its functions. The per iod between birth 
and death. 



IX 




PMaic\LlMSTRuamr^> 

HYPisiarisM * 

7VNT) ^VGGESTIOIS 



Herbert L. Flint. 




Lymphatism- -The lymphatic temperament. 

Magnet, Nat ural--The lodestone. 

Magnet, Electro--An artificial magnet, owing its 

attractive power to an electric current passing 
through it. 

Magnetic Force--The power of attraction of the natural 
magnet or electro-magnet. The same word is used 
by mesmerizers to indicate the power they clain 
to dispose of. 

Magnetic Passes-- Certain movements of the hands of 
the mesmerizer, the purpose of which is either 
to mesmer i ze or t o demesmer i ze a subject. 

Magnet i zer- The same as mesmerizer or mesmerist. 

Magnetism, Animal -The peculiar force or fluid said 

by the mesmerizers to emanate from the operator 
and penetrate the subject, 

Mental Agency— The power of mind over body; claimed 
by the School of Nancy to be the basis of all 
hypnotic manifestations. 

Mesmerizer, or Mesmerist --An operator in magnetizing 
or mesmeri zing. 

Mesmerism--Same as magnetism (which see.) 

Me talloscopy--The art of determining the influence of 
metallic surfaces upon the human system. 

Me tallo-Therapeut ics- -The external use of metals in 
the treatment of diseases; is closely related 
to hypnotism. 

Morphinism; Morphinomania - - The use of sulphate of 
morphia, or in other forms, degenerating into 
an inveterate habit. 

My oli t is -- Inflammation of the spinal cord. 

Neuralgia--A local, sharp, nervous pain. 

Neurasthenia-Nervous debility. 

Nosography - -A description of disease. 

Obs te t r ics--The science and practice of midwifery. 

M 0d"--("A11 penetrating," in Sanskrit.) The mysterious 




PRACTMLlNSTRUCnaM 



HYPISPTISM 

ANT> «VGGESTI02N 

By 

Herbert k Flint. 




"fluid" believed by certain mesmerists to be 
the same as animal magnetism; also called 
"vital fluid." 

Paralysis--A local impairment of the normal power of 
the nervous system; sometimes general. 

Paraplogia- -Paralysis of the lower limbs. 

Passes, Magnetic or Mesmeri c - -(See Magnet ic Passes . ) 

Pathology- - The science of diseases; also the ensemble 
of the symptoms of a disease. 

Physical Agents - -Means to induce hypnosis which are 
not of a mental or suggestive character. 

Physiology -- The science of the functions of living 
things . 

Polarit y - - The fact of having two poles, a positive 
and a negative one. 

Polarization- -The acquisition of polarity (which see.) 

Psychic - -Per taining to the human mind. 

Psy chology--The philosophy of the human mind. 

Psy cho-Phy s iology - -The science of the functions of 
the human mind in their connection with the 
functions of the body, and vice-versa. 

"Rapport"--A French word used in connection with the 
word en (in) and referring to the state wherein a 
subject can be hypnotized only by one particu- 
lar operator, or, once in the hypnotic sleep, 
is suggestible only through one person. 

Rigidity- Peculiar stiffness noticed in the catalep- 
tic stage of hypnosis. 

Sense-Delusions - -Same as hallucinations (which see.) 

Sense Stimulus, or St imulat i on-An appeal to one of 

the five senses, often with the object of weary- 
ing it and thus inducing hypnosis. 

Sensibility, Elec t i ve--The peculiar condition of a 
subject in the hypnotic sleep, who only obeys 
the suggestion of one particular person, gener- 
ally the hypnotizer. (See Rapport.) 

Simulation--In hypnotic matters, the voluntary or 



XI 





PRAaiCALlNSTRIJCriON 

HYHSOTISM 

AND «VGGESTIOiS 

Herbert k Flint. 



involuntary attempt on the part of the subject 
to present certain phenomena, which, in reality, 
are not induced by hypnosis or suggestion. 

Sleep, Na tural--Opposed to hypnotic sleep. 

Sleep, Hypnotic--The same as hypnosis (which see.) 

Somnambulism, Indif f erent— Cond i t ion of a subject 

who does not need to enter the. hypnotic sler-p, 
or to obey suggestions; that the operator be one 
particular individual and no other. 

Somnambulism, Natural--A state of spontaneous som- 
nambulism. Opposed to hypnotic, or induced 
somnambulism (which see.) 

Somnambulism, Induced--The lightest stage in Luys* 
diagram of the hypnotic sleep. 

Sphygmograph An instrument to indicate by lines 

automatically traced on a strip of paper, the 
changes in the regularity of the pulse beats. 

Stages, Hy pno t ic--They are four in number, according 

to Charcot and Luys. Beg inning wi th the deepest, 
they are named respectively: Hypo-Lethargic, 
Lethargic, Cataleptic and Somnambulistic. 

Suggest ion--In the study of hypnotic phenomena, the 
word is said to apply to the temporary control 
obtained over the subject's will. 

Suggestion, Inter -Hy pno t i c--This is suggest i on opera- 
ting during hypnosis. 

Suggestion, Pos t-Hypno t i c-- Thi s is suggestion oper- 
ating after hypnosis is over and the subject is 
awake . 

Telepathy- -Another word for "mind reading." The 

communication of one mind with another without 
the usual means of gesture, speech or writing. 

Therapeutic- -Having a curative value. 

Therapeutics- - The art of treating disease. 

Transference -- In the study of hypnotic phenomena, 
this word refers to the transfer of certain 
pyhsical symptoms from one side of the bojy to 
the other, or even from the subject to another 



XII 




person. 

Transfix. -To pierce through and through. 

Transf usion-A transfer of blood into the veins. The 
transfer of liquid from one vessel to another, 
especially the introduction of blood from 
another body into a vessel of the body. 

Transic -- Relating to a trance. 

Transmission-- The transfer of a disease. 

Transplantation. -The operation of grafting. 

Transposition-- An interchange of position. 

Trauma--A wound; an injury. 

Traumatology -■ The science of wounds. 

Treatment -- The methods employed in effecting a cure. 

Tremble--To quiver; to be affected with quick, 
vibratory movements. 

Tremulous - - Trembling. 

Triakaidekaphobia- - Insane dread of the number thir- 
teen. 

Trial--The act of testing. T. -Number of lenses for 

testing the refraction of the eye. T. -frame, a 
spectacle frame for holding trial- 1 enses . T. - 
lenses, lenses used in testing vision. 

Trismus--A spasm of the muscles of mastication; lock- 
jaw. 

Trisplanchnic-- The descriptive name of the sympa- 
thetic nerve. 

Tristimania- -Melancholia. 

Thophology--The science of nutrition. 

Typhlology - - The science of blindness. 

Umbilicus-The navel; the round, depressed cicatrix 
in median line of abdomen. 

Unconsc iousness-The state of being without sensibil- 
ity. 

Undulation- -A wave ; a fluctuation. 



XIII 





PBACTICALteTRUCriON 



HYPNOTISM 

AND < SVGGESTIOTS 

Herbert k Flint. 



Uni versi ty --A collection of colleges under one acad- 
emic government. 

Uvula— The conic membranous appendix hanging from the 
free edge of the palate. 

Vacuum—A space exhausted of air. 

Vale tudinarian--An invalid. 

Vapor s-Lowness of spirits; hysteria. 

Var iat ion- -Deviat i on from a given type. 

Vegetarian-One whose diet is mainly vegetable. 

Vege tat ive - -Having the power of growth. 

Vein--A vessel returning the blood to the heart. 

Vertebra--A bony segment of the spinal column. 

Vertebrarium-- The spinal column. 

Vertex--The crown or top of the head. 

Vert igo--Giddiness ; dizziness. 

Vesania--Unsoundness of mind. 

Ve ter inary--Pertaining to domestic animals. 

Vir ile.-Per taining to manhood; manly, strong. 

Vi rili ty--The condition of mature manhood. 

Visual—Pertaining to vision. 

Vita- -Life. 

Vital-Pertaining to life. V. -Capacity. See capacity. 
V. -Signs, respiration, pulse and temperature. 

Vitality--1. The vital principle of life. 2. Strength. 

Vitodynamic- -Relating to vital force. 

Vi visec t ion--Scient if ic dissection of or experieen- 
tation upon living animals. 

Vocal - -Pertaining to the voice. 

Voice--A sound produced by the vibration of th« 
vocal bands . 

Volition--The will to act. 

Voltaic- -Pertaining to galvanic electricity. 



XIV 




<^Kctical1nstru<iioN 
* HYFlSGriSM 

ANT) «VGGESTI02S 

Ho®erx i/. Flint. 




voluntary- - under the control of the will. 
Volunt ono to ry -- Relating to voluntary motion. 
Wane--To decrease; to decline; to fade. 
Ward--A room in a hospital. 
Weaken--To reduce the strength. 

Whirl--To revolve rapidly. W.-Bone, (l)the head of the 

femur; (2) the patella. 

Whisper--An utterance of words by the breath. 
Zoology — The science of animals. 
Zoophobia- -Morbid fear of an animal. 




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